MAPPING DIGITAL LANDSCAPE NARRATIVES Exploring The Use Of Social Media As A Passive Form Of Community Engagement In Landscape Architecture A case study of the Festival du Voyageur

By Blaise Lachiver

A practicum submitted to the Faculty of Graduate Studies of the University of Manitoba.

In partial fulfillment of the requirements of the degree of Master of Landscape Architecture.

Department of Landscape Architecture University of Manitoba Winnipeg, Manitoba

Copyright © 2016 Blaise Lachiver ABSTRACT

This practicum develops the concept of Mapping Digital Landscape Narratives. It is an exploration of the use of social media as a passive form of community engagement in landscape architecture. Digital landscape narratives are stories about places that are created collectively by various agents, including people, groups, organizations and communities through the Internet and the use of social media. A case study of the Festival du Voyageur in Winnipeg, Manitoba is used to explore the potential of social media as a tool in planning and design. This practicum explores the importance of social media to participatory culture. An understanding of landscape narratives is developed, and contemporary forms of representation are explored. The document explores three forms of data including original social media data, such as photographs and videos, metadata such as hashtags and locations, and social network data, which is created when people interact on social media. Research into mapping, social network analysis and online privacy outline best practices for researchers and designers of public space. A study of the Festival du Voyageur’s programming, along with an interview with the festival’s planning staff, establishes a conventional data set that outlines the festival on a city scale, a neighborhood scale, and the scale of the festival grounds. Social media data from Facebook, Instagram and Twitter are mapped and analyzed to create a complimentary data set. Ultimately an overall complex narrative is developed describing the festival from various points of view at various locations.

i ABSTRACT ACKNOWLEDGEMENTS

I would like to acknowledge all of the eudcators and advisors who assisted with my academic career. Thank you all for the inspiring lectures, lessons, trips and studios.

I would like to thank my committee for their critiques, motivation and for believing in this practicum.

To Bob Somers, for showing me the practical potential of this practicum, and for seeing opportunity in an idea.

To Dr. Lawrence Bird, for bringing a high level of experience and understanding of mediated environments, and excellent critical analysis.

To Dr. Karen Wilson Baptist, for the believing in an open ended idea and for pushing me outside of my comfort zone. And thank you for years of patience.

To the staff at the Festival du Voyageur, thank you for taking the time to meet with me.

To all those that volunteered their photographs from Instagram, thank you for your effort and beautiful work.

To my parents, for becoming landscape architects at heart, and for encouraging me to follow my dreams.

And to Marie, for supporting me through every struggle and for celebrating every victory. You inspire greatness.

ACKNOWLEDGEMENTS ii TABLE OF CONTENTS

CHAPTER 1: Literature Review & Concept Development 1.1. Introduction 1 1.6. Social Network Data 18 • Digital Landscape Narratives • Social Network Data • Social Media Data – Original Data • Working with Social Networks • Metadata • Social Network Data 1.7. Mapping 20 • Participatory Culture • Map - Noun • Research Context • Mapping – Verb • Corner’s Mapping Operations 1.2. The Relevance of Social Media 5 • Subjectivity of Maps • Social Media & The Internet • Connecting Social Media & Landscape Architecture 1.8. Social Network Analysis 23 Through Participatory Culture • Defining Social Network Analysis • Defining Social Media & Its Limitations • Network Visualization • Graphical Markers 1.3. Landscape Narratives 8 • Functions of Network Visualization • Defining Landscape Narrative • Principles of Network Visualization • Applying & Reading Landscape Narratives • Network Architecture & Actor Network Theory • Lafayette Square Park • Types of Landscape Narratives 1.9. Social Media & Privacy 28 • The Ethics of Social Media Research 1.4. Representing Digital Landscape Narratives 11 • The Private Studio • Photography and Digital Landscape Narratives • A Consequentialist Approach to Privacy • Film Photography • Digital Photography 1.10. Chapter Conclusion 30 • iPhoneography

1.5. Metadata 16 • Defining Metadata • Hashtag & Folksonomy

iii TABLE OF CONTENTS CHAPTER 2: Data Anlysis & Operations 2.1. Chapter Introduction 32 2.7. Original Data Analysis 73 • Qualifying & Quantifying Data 2.2. Festival du Voyageur 34 • Contacting Festival-goers • Origins of the Festival du Voyageur • Journaling Data Analysis • Festival Infrastructure • Programming & Activities • The Modern Festival • Snow Sculptures • Voyageur Park • Families • The Festival on a Neighborhood Scale • Special Content • Food • Language & Culture 2.3. Interview with the Festival du Voyageur 51 • Planning the Festival du Voyageur • Temperature & Weather • The Festival du Voyageur and Social Media • Negative Comments • Location 2.4. Social Media Platform Analysis – Central Data 54 • Facebook Page Analysis 2.8. Conclusion 89 • Instagram Account Analysis • Twitter Account Analysis References 91

2.5. Social Network Data Analysis 57 Appendix 94 • Facebook Page ‘Like’ Network • Facebook Page Post Network • Twitter Network Data Impasse

2.6. Metadata Analysis 66 • Metadata Analysis • Geo-location Analysis

TABLE OF CONTENTS iv CHAPTER 1: Literature Review & Concept Development

1 CHAPTER 1: LITERATURE REVIEW & CONCEPT DEVELOPMENT 1.1. INTRODUCTION Digital Landscape Narratives Metadata Digital landscape narratives are stories about places that The second type of data that I will look at is metadata – are created collectively by various agents, including people, groups, the data about data (Coyne 2012, 164). It is the metadata that organizations and communities through the Internet and the use of characterizes the original user created content. This information social media. Landscape architects can harvest, curate and map includes locations (geo-locations), descriptions, categories tags, the vast amounts of user created data that is found and shared nomenclature, people/users, and databases. This metadata can be on social media platforms to open up the design process to larger automated at the point of creation of the original data, it can be groups of people, embracing participatory culture in landscape computer generated, and can be added by a user or the creator architecture. Everyone has a story to tell; we all have experiences, of the content, such as a tag (or tagging system). Metadata, while ideas and opinions, and social media has become a popular mode present within the data, is often not immediately visible to the for narrating our lives. These accounts transpire in places and average user. However, with a quick web-search, vast amounts of spaces, and provide landscape architects and designers of public metadata can be uncovered, allowing landscape architects to collect space with new and abundant forms of data, because each place and organize such information in meaningful ways that present an has a narrative that is generated by various agents – everyday overview and understanding of the original content, whether about people, the narrators of landscapes. The purpose of this chapter an individual, group, community, topic, issue, place, or landscape. is to review pertinent literature, identify key themes, establish a Perhaps an overarching theme, idea, or opinion that was not study methodology, research conventional terms and practices previously evident will present itself, or perhaps the designers’ and explore ethical boundaries, including issues of copyright and views, opinions, or thoughts about a place will be confirmed and privacy. reinforced. As a qualitative method, metadata research presents an amazing opportunity for landscape architects to uncover and recognize meaningful patterns in social media data about places Social Media Data – Original Data Landscape architects can harvest data from social media and the people within them. This information is crucially important to better engage clients and citizens – the users of public space. to understanding a landscape’s digital narrative. In the Data Analysis The information available through social media appears in many & Operations chapter of this practicum I will uncover and apply forms of data. The original data, where the first and most apparent metadata to filter the original data and focus the narrative on the layer of narrative emerges, is the user-created content that is shared landscape in question. through social media sites. These data are the Tweets, Status Updates, blog posts, web-links, photographs, images, captions, comments, and all other forms of user created content that are shared through social media platforms. Through the use of filters, designers and planners can sort the content by location or place, such as a specific landscape like a park or a neighborhood, or based on a landscape topic, such as Winnipeg’s Rapid Transit debate or an event such as the Franco-Manitoban Festival du Voyageur. By focusing the data, collective place based or topic based narratives can emerge. This practicum will apply original social media data to construct and present a digital landscape narrative. 1.1. INTRODUCTION 2 Social Network Data Participatory Culture The third type of data is social network data. It is the most Landscape architecture is well positioned to involve social difficult to visualize, as it is immensely complex and it is also the media in its processes as both landscape architecture and social least visible and least accessible information that I will look at. Social media embrace and encourage participatory culture. Social media network data in social media is the information that is generated depends on participatory culture; it is the creation and sharing of when users and groups interact on social media platforms. Every content that makes a social media platform an engaging digital time a Facebook user ‘friends’ another user, a Twitter user is space. Social media requires its members to participate, since the ‘followed’, or whenever a ‘tweet’ is ‘retweeted’ or ‘favorited’, when technology is not the message but facilitates the medium within which a blog post is read, or an Instagram photograph is ‘liked’, etc., the messages and narratives are created, and shared. Landscape social network data is created. The potential of studying social architecture on the other hand is not necessarily participatory, as a network data is almost endless, as social media is still a young designer could work on one’s own and design a landscape without medium and is constantly growing and evolving as the social consulting anyone else. Landscape architecture however, is most media platforms adjust and change to a multitude of environmental often practiced in the public realm, which depends highly on the conditions, such as copyright laws and privacy concerns, and as consultation with the public or those who represent the public. new social media platforms are invented. Another significant matter When making decisions about landscapes that will impact many is that social networks are not stagnant, they are dynamic and people, having those stakeholders on board with one’s decisions constantly in flux, changing as people mature and their friendships is critical to actualizing the project. Social media has activated a and interests change. Through the use of Social Network Analysis movement of “mass amateurization” (Shirky 2008, 70) that has (SNA) and Actor Network Theory (ANT), landscape architects invited everyone to participate; and while contemporary landscape can gain a better understanding about a landscape’s social architecture has embraced participatory culture, it has yet to utilize network; which is composed of people, groups, communities, and the participatory aspects of social media to its full potential. organizations that are all connected or disconnected in a multitude of ways. By curating and mapping these networks, landscape architects can identify key stakeholders in the social network of a particular landscape. These agents, whether they are individuals or whole groups of people, may or may not be aware that they are a community. People, users, groups and communities are part of a landscape’s narrative, and ultimately they create digital landscape narratives through their actions and the content that they produce and share about landscapes. It is up to landscape architects to map and curate these digital landscape narratives. In this practicum, SNA will be applied as a method to map and visualize data, while ANT will address the way in which social media platforms influence the data and networks.

3 1.1. INTRODUCTION Research Context Content shared by a user, such as a photograph, a birth date, or This review attempts to reveal and highlight many of an address – essentially most data, can be controlled by the user, the possibilities that social media can offer to designers through allowing certain users access to said information, while preventing mapping digital landscape narratives, including but not limited to access to other users. For this reason, the digital space of social key stakeholders, demographics, representations, and opinions. media is a public space, but one that is personalized to each actor Engaging with social media and its data present a myriad of ethical within that space. Landscape architects planning to utilize social issues that must be understood and addressed by landscape media data must be knowledgeable enough to work confidently architects and those performing public landscape related research. and ethically when dealing with social media’s immensely complex It is safe to assume that many landscape architects have experience privacy issues. and an understanding of research in public space. Comprehending In this chapter I shall proceed by exploring the use of social the ethical issues of observing people in public space or representing media as a form of passive community engagement in landscape places in a certain positive or negative light, are issues that designers architecture. To begin, I will develop an understanding of social and planners of public space have been dealing with for over a half- media and its impact on landscape, narrative, and representation. decade. The urban activist Jane Jacobs provides an early example Following, the use of metadata for landscape architects will be of observing people through written narrative in her book The explored. I shall delve into the application of social network data Death and Life of Great American Cities (1989), originally published in identifying communities and stakeholders in the participatory in 1961, where she describes the interconnected social fabric of planning process. An understanding of the mapping process and the urban neighbourhoods. Urbanist William H. Whyte provides another repercussions for the creators and readers of maps will be developed. example of observing public space in his book and accompanying Finally, throughout the review I will look at the ethical issues that filmThe Social Life of Small Urban Spaces (2001), originally published environmental designers working with social media must consider in 1980, where he photographed and filmed urban plazas to identify and how those concerns play into the professional landscape social patterns and their relationship to urban form. The digital architect’s practices. A variety of themes surrounding social media space of social media, however similar to physical public space, and participatory culture will emerge; in our contemporary culture, is essentially different. When describing urban spaces as Jacobs affected by social media, the relationship between amateurs and does, she can use pseudonyms for the characters of her scenes; professionals, experience and representation, private and public only the actions of these actors are identifiable. Their identities and are constantly in flux and being renegotiated. Understanding all other data relating to them are relatively anonymous, respecting these shifting attitudes is essential to contemporary landscape the privacy of these people and their communities. In Whyte’s architecture. In this practicum I will apply a qualitative method work as well, only the photographs or videos of these people are of gathering, sorting and analyzing social media data and social accessible; the data provides no other information about their network data to establish a digital landscape narrative that will be identity, essentially respecting the privacy of the actors. Within the key to establishing recommendations and making planning and public realm of social media however, information about the actors design decisions about the landscape in question. What possibilities is in abundance, making users highly identifiable. This would not arise in the act of mapping digital landscape narratives? be a problem if all of the information was intentionally created and made public by the users themselves, except that not all the data is intentionally created or intentionally shared, and the complexity of user privacy settings on social media platforms is substantial.

1.1. INTRODUCTION 4 1.2. THE RELEVANCE OF SOCIAL MEDIA Social Media & The Internet Connecting Social Media & Landscape Architecture Why should landscape architects use social media in Through Participatory Culture their design process? The Internet and the World Wide Web Community engagement is a frequent tool used in have significantly changed the world we live in by allowing usto contemporary landscape architecture and urban planning, which access nearly instant information, creating new forms of data can be witnessed in most cities and neighbourhoods, where that were formerly unthinkable and opening up various means of designers and planners host open houses and community communication around the world. On March 12, 1989, Sir Tim consultation sessions to gain insight into the views and opinions Berners-Lee wrote a paper describing his creation, the World Wide of their respected communities. This process of participation is Web (Pew Research Center 2014, 1). On December 25, 1990 he a practice that allows designers to hear from their prospective released the code for the Web (1). Based on the Internet’s protocols clients, while also providing accountability as they can justify their that “enable computer networks to communicate with each other”, decisions with approval by the community. Community engagement the Web is a service that permits access to content hosted on other is therefore rooted in an emerging participatory culture. Social computers (1). media embraces and enhances participatory culture. Participatory In 2004, the term Web 2.0 emerged “to define web culture “is characterized by relatively low barriers to public artistic applications that facilitate interactive information sharing, expression and civic engagement, strong support for creating and interoperability, user-centered design, and collaboration on the sharing one’s creations with others, and frameworks for formal World Wide Web” (Stefanidis, Crooks & Radzikowski 2013, 320). and informal mentorship to novices” (Giaccardi 2012, 3). Social Web 2.0 is what we often term social media. Media is an interesting media provides a mode for everyday people to express themselves term as it is rather ambiguous; it can refer to the “institutions and upon a platform that is theoretically egalitarian, providing access to infrastructures that make and distribute particular contents”, but those who may not always be heard. This can provide professional media also refers to the content itself Couldry 2012, 2). Social media designers with new insights into public opinion, and it can allow the therefore refers to both the means and the message. The original professional to share and comment on those opinions. Social media Web offered a form of media that was similar to the authoritative is becoming more prominent in our everyday lives, but the idea of forms of media of the past, such as television, radio, or newspapers using the data for professional purposes is not a new one; “social and journals, where the production of content was reserved for media generated from many individuals is playing a greater role in professionals, or at the very least those with the complex knowledge our daily lives and provides a unique opportunity to gain valuable and skills required to create websites. In contrast to the rather static insight on information flow and social networking within a society. data repository websites of the original Web, Web 2.0 is an open Through data collection and analysis of its content, social media and transparent space with “participation-enabling architectures” supports a greater mapping and understanding of the evolving that harnesses the power of crowds and networks, and encourages human landscape” (Stefanidis, Crooks, & Radzikowski 2013, 319). “individual production and user-generated content” (320). All of Social media can provide landscape architects with information these attributes contribute to the generation of “data on a massive about landscapes in nearly real time. scale” (320). This data could be an excellent resource for landscape architects to acquire insight into the narratives of their clients’ communities.

5 1.2. THE RELEVANCE OF SOCIAL MEDIA Defining Social Media & Its Limitations collected data. I will focus much of the research on three social What exactly is social media and why does it matter to networking sites in particular: Facebook, Twitter, and Instagram. landscape architecture? Examples of social media platforms are These three sites have been selected for their proportionately high Facebook, Twitter, Instagram, Google+, YouTube, LinkedIn, Flickr, user base, and their intended uses which are mundane yet insightful Tumblr, and Wikipedia, to name a few. New forms of social media into people’s everyday lives. and new platforms are quickly appearing. These platforms and new Facebook began as a social networking site exclusively forms of media matter because they are used by vast amounts of for Harvard students, but in 2006 it became a public social media people, and are quickly becoming part of everyday life for many. platform and quickly accrued 7.5 million users by 2008 (844). In the U.S. for example, 87% of American adults used the Internet Astoundingly, only 6 years later, in 2014, Facebook had 1.23 billion in 2014 (Pew Research Center 2014, 5), and in 2013, 73% of users worldwide (Kiss 2014). In 2013, 71% of online American online adults were using a social media platform on a regular basis adults were Facebook users, up from 67% in 2012. While Facebook (Duggan & Smith 2013, 1). While these numbers are significant, is the most popular social media platform, other sites are gaining in we begin to see the limitations of this research, as the data does popularity. In fact in 2013 “42% of online adults use multiple social not represent everyone. For this reason the mapping of digital networking sites” (Duggan & Smith 2013, 1). landscape narratives should only be one layer in the collaborative Twitter is a microblogging service that allows users to design process; and social media engagement should not replace share ‘tweets’ of up to 140 characters (Lima 2011, 150). Users traditional forms of community consultation. This multifaceted can choose whom they would like to ‘follow’, providing them with approach to community engagement addresses limitations such access to all of their followees’ ‘tweets’ in chronological order. They as the “digital divide” (Murthy 2008, 848); Sociologist Dhiraj Murthy can then ‘favorite’ their favorite ‘tweets’, or ‘retweet’ something noted that in the U.K. in 2008 there was a difference between interesting to their own ‘followers’, and they can reply to other “digital haves” and digital “have nots” (845). Social media research users’ ‘tweets’. Instagram on the other hand is a photograph therefore could tend to represent socially advantaged groups sharing site, which was described by professor of Digital Cultures at disproportionately (848), as Internet usage is lower among socially the University of Sydney, Christopher Chesler (2012), as an “an app disadvantaged groups (Coleman & Normann 2000, 3). Social media that trades in instant nostalgia. It positions itself as a hybrid of the research however, may facilitate dialogue and provide access to Polaroid and the telegram: a neo-retro device that makes instant groups with disabilities (Murthy 2008, 845), or those with lack of images transmissible anywhere” (108). Instagram allows users to time or accessibility issues, such as residents of remote locations. ‘follow’ other users, and see and ‘like’ the photographs that they Every social media platform is different and unique, post and share. Twitter and Instagram have significantly lower user and each platform has its own purpose and user base. It is for bases than Facebook, Twitter with 18% in 2013, up from 16% in this reason that this research is not about a specific social media 2012, of online American adults, and Instagram with 17% in 2013, platform, but about the understanding of social media as a tool up from 13% in 2012, of online American adults (Duggan & Smith in landscape architecture. Research concerning a single Web 2.0 2013, 1). While these percentages are lower, the purpose, subject site would quickly be dated due to the rapid change in the social matter, medium and available data for Twitter and Instagram are media landscape and the variety of platforms that are emerging. different from one another and that of Facebook, adding value to the Therefore understanding who uses a specific site and why they research through the variety of content. Worldwide their user bases use it is essential to performing social media research in landscape are quite large nonetheless, Twitter had 288 million active users in architecture, as that information provides context for the actual 2015 (Twitter 2015) and Instagram has 300 million users in 2015

1.2. THE RELEVANCE OF SOCIAL MEDIA 6 (Instagram 2015). Facebook has a diverse demographic of users, and two thirds of its users visit the site once a day, with 40% visiting multiple times a day (Duggan & Smith 2013, 1-2). Comparatively, Twitter and Instagram each have a less diverse user base, appealing to a younger, non-white, urban dwelling demographic (1-2). These two sites have slightly less frequent engagement than Facebook, with approximately one half of users visiting the sites once a day, and approximately one third visiting multiple times per day (2). The astounding number of users and the frequency of use are some of the aspects that make social media a valuable source for community engagement in landscape architecture. It is also important to note that other social media platforms have niche markets, for example LinkedIn caters to professionals and college graduates, while Pinterest has a large female user base, with 4 times as many women users than men (1-2). Designers of public space must be able to contextualize social media platforms to select the ones used for research and community engagement. For example, public opinion on Twitter is often different from recorded public opinion “We live within worlds of stories, and we use stories (Smith et al. 2014, 1), and landscape architects must understand to shape those worlds.” this if the data is to be used to represent a community. The data (Potteiger & Purinton 1998, 3) available on Web 2.0 is a new resource that could greatly affect the landscape architecture design process. Social media “provides means of viewing and in a sense forming an opinion of a place without actually visiting” (Stefanidis, Crooks & Radzikowski 2013, 334). The Design Research chapter of this practicum will involve a qualitative analysis of the narratives found on social media relating to a particular landscape. The research will provide a new layer of information to compliment traditional landscape architecture analysis. Understanding and defining the limitations of the data and each social media platform will be essential to establishing my bias as the researcher and maintaining an honest narrative in the Design Research chapter of this practicum. For landscape architects to truly use digital landscape narratives as a tool, they must first understand the interwoven realms of social media, digital photography, and narrative.

7 1.2. THE RELEVANCE OF SOCIAL MEDIA 1.3. LANDSCAPE NARRATIVES Defining Landscape Narrative over time in ways that other models cannot—even about If we are to begin mapping digital landscape narratives, the most mundane spaces of our lives. (94) we must first understand several keys concepts. What exactly are Landscape narratives can inform our understanding of landscapes landscape narratives? What roles do narratives play in landscape as the result of forces in tensions between both natural systems and architecture? And how has social media and advances in digital processes, and human systems and interventions. An environmental photography affected landscape narratives? Has social media and ecological narrative can provide an understanding of the natural affected the way in which we represent landscapes? processes involved in a landscape, while a social, historical, or I will begin by developing an understanding of the role that programmatic narrative can be provided through landscape design. narratives play in landscape architecture. What are narratives and how do they relate to landscapes? A narrative is an “account of Applying & Reading Landscape Narratives connected events” or “a representation of a particular situation or How are landscape narratives created and imposed on process in such a way as to reflect or conform to an overarching the landscape? To answer this we begin with the understanding set of aims or values” (Oxford Dictionaries 2013). We constantly use that “narratives are imagined, even non-fictional narratives, and narratives to understand our lives and experiences. They are a kind they can be created by the designer/author, reader or both” (94). of contextual story that we use to understand our experience in This introduces a certain level of complexity involved in reading, time and place. Matthew Potteiger and Jamie Purinton, authors of experiencing and comprehending landscape narratives, since their Landscape Narratives (1998) write: “narrative is a very fundamental interpretation is dependent on various agents, such as the designer way people shape and make sense of experience and landscapes” and the user. Landscape narratives are therefore not stories told in (ix). Landscapes provide the spaces within which narratives take chronological order, but complex layers of information expressed place. “Landscape is the hidden art. It’s everywhere and it’s part in physical space that transcend time. For example a landscape of everyone’s life” (Herrington 2009, viii). So landscapes are the narrative could illustrate million year old geological activity, thousand physical spaces that make up the everyday, and narratives are the year old ecological processes, hundred-year-old historical & political contextual stories that help us understand these places in time and stories, and one’s present experience; however, this narrative space. “The term landscape narrative designates the interplay and is represented spatially on the land rather than throughout time. mutual relationship that develops between landscape and narrative” “Landscape narratives mediate this crossing of temporal and spatial (Potteiger & Purinton 1998, 5). Landscape narratives assist us in experience (Potteiger & Purinton 1998, 7). It can be the materiality of understanding landscapes, for “only that which narrates can make the site that narrates, such as the preserving of geological features; us understand” (Sontag 1978, 23). We are therefore assisting in the or the choice of vegetation, where the use of local flora establish understanding of the places in people’s lives, by applying landscape another layer of narrative, or the use of historical paths, where former narratives to landscape architecture. Landscape architect and nomadic trails or former rail lines are implied in the site’s layout; or University of British Columbia professor Susan Herrington writes in contemporary stories can be used to enhance the experience for On Landscapes (2009): the site’s existing users. Narratives, “intersect with sites, accumulate The efficacy of landscapes to frame time in space make as layers of history, organize sequences, and inhere in the materials them powerful sites for narration. Narratives are important and processes of the landscape” (5). Landscape narratives can because they can help us see elements in landscapes as be applied via varying design mechanisms, such as design layout, a series of temporal sequences. They can explain change

1.3. LANDSCAPE NARRATIVES 8 material choice, planned spaces, or interpretive signage, and concerned with historical or mythological narratives. Herrington even naming of places. Therefore landscape narratives should be writes: “a major difference between twenty-first-century landscape understood as complex spatial, visual and experiential narratives, narratives and ones from history is the use of storytelling as part of rather than written literary narratives that must be communicated the design process; an act that can transfigure social relations and through words (x). Literary narratives are represented using one space” (103). medium – written language. But landscape narratives are achieved through design, which requires many mediums, and are therefore Lafayette Square Park highly influenced by the design process. “Narrative refers to both the An example of a landscape designed using a storytelling story, what is told, and the means of telling, implying both product process is Lafayette Square Park in Oakland, California. The and process, form and formation, structure and structuration” designer of the park, landscape architect and Berkeley professor (3). In this sense, landscape narratives are both the story told Walter Hood developed a landscape narrative by engaging the through a built design, as well as the story created for and by the community. He had various community members tell their stories design process. Therefore a landscape architect as the curator of about the landscape in question. Hood states: “I could do my own a landscape narrative differs from a writer of a literary narrative. thing…but it wouldn’t be as interesting as listening to the people” “Unlike verbal narratives, spatial narratives are silent but persistent. (Fast Company 2010). This narrative based design process led to a With few protocols for reading a landscape from right to left or front park design that responded to the everyday needs of the community. to back, the viewer enters at different points, is free to pause, take in Many photographs were also collected from the community the whole image, inspect its parts, or review” (10). The relinquishing members, and were put on display in the park amongst historical of authority from the designer of the narrative upon the landscape, photographs, building on the landscape narrative by adding layers accords agency to the user of the space to experience and read the of time and representation. landscape and its narrative in their own way. Using social media to create digital landscape narratives allows landscape architects to understand how communities are using and reading spaces prior Types of Landscapes Narratives to and after the design process. And this is where the true value of If the design process is to involve narratives, we should the digital is added to landscape narratives, by providing designers have an understanding of various forms of narratives and how they with nearly instant place-based narratives via social media. can be applied in landscape architecture. Potteiger & Purinton Over the last thirty-five years, narrative has become once (1998) list and define nine types of landscape narratives (11). Table again an important tool in the landscape architecture design process 1.1 will aid in qualifying the digital landscape narrative established (Potteiger & Purinton 1998, ix; Herrington 2009, 98). Replaced by in the Design Research chapter of this practicum. Determining the a Modern pragmatic design process for nearly a century, narrative type of landscape narratives at hand will assist in establishing an has been reclaimed as a significant design tool because “narrative approach to mapping the data and predicting how such a narrative offers ways of knowing and shaping landscapes not typically is read and experienced by others. The aim of this practicum is to acknowledged in conventional documentation, mapping, surveys, translate the storytelling found on social media to a spatial, visual or even the formal concerns of design” (Potteiger & Purinton 1998, and experiential narrative through the process of analyzing data. ix). Contemporary landscape narratives are much more concerned with the contemporary, mundane stories of the everyday users of the designed spaces, whereas past landscape narratives were often

9 1.3. LANDSCAPE NARRATIVES Type of Landscape Definition Narratives

Narrative Experiences Routines, rituals, or events that represent or follow narrative structures; e.g., festivals, processions, reenactments, pilgrimage, daily journeys, crossing the threshold.

Associations and Elements in the landscape that become connected with experience, event, history, religious allegory, or other References forms of narrative.

Memory Landscapes Places that serve as the tangible locus of memory, both public and personal. This may develop through implicit association or by international acts of remembering (and forgetting); e.g. monuments, museums, preserved buildings, districts, and regions

Narrative Setting and A setting is the spatial and temporal circumstances of a narrative. It can recede to the background or Topos figure prominently. A narrative topos is a highly conventionalized setting linked with particular events, which is evoked repeatedly in a culture’s narratives. In Western culture epiphanies occur on mountaintops, and chance meetings take place on the road.

Genres of Landscape Places shaped by culturally defined narrative forms or “genres,” e.g. legend, epic, biography, myth. Narratives

Processes Actions or events that are caused by some agency (wind, water, economics) and occur in succession or proceed in stages toward some end (progress; entropy). Erosion, growth, succession, restoration, demolition, and weathering are visible records of change that inscribe time into landscape form.

Interpretive Landscapes Elements and programs that tell what happened in a place. The intent is to make existing or ongoing narratives intelligible.

Narrative as Form Using stories as a means of giving order (selecting, sequencing, etc.) or developing images in the design Generation process. It is not necessary that the story be explicitly legible in the final design form.

Storytelling Landscapes Places designed to tell specific stories with explicit references to plot, scenes, events, character, etc. The stories may be either existing literary or cultural narratives or produced by the designer.

Table 1.1 - Type of Landscape Narrative

1.3. LANDSCAPE NARRATIVES 10 1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES Photography and Digital Landscape Narratives accessibility of photography has grown exponentially, and such a Digital Landscape Narratives are highly dependent on quick transformation has led to overlap the styles and conventions the representation of landscapes. We can see why Walter Hood of the medium. brought historical and contemporary photographs into his design – to reinforce the community’s narrative, since photography, as a form “To represent is to stand for something else.” of representation, is a powerful narrative tool. Photography is also (Herrington 2009, 33) one of the essential and dominant mediums involved in social media and the digital narrative process. Social media involves the acts of documenting everyday stories with photography and sharing them Film Photography with informal online communities. This process of creating digital In the 20th century film photography had become the landscape narratives could further increase the value of narrative as dominant and most natural way to refer to appearances (Berger a tool in landscape architecture. 1980, 48). Photography had replaced the fine arts, such as The smart-phone has become a significant aspect of social painting and sculpture as the dominant form of representation media, as it provides instant access to Web 2.0 applications from due to its accessibility, accuracy and speed. “Although there is a anywhere, while also putting a digital camera in seemingly everyone’s sense in which the camera does indeed capture reality, not just pocket. This is important for public space designers because interpret it, photographs are as much an interpretation of the world the camera-phone “is good at catching fleeting moments and as paintings and drawings are” (Sontag 1978, 6-7). The art of documenting everyday routines” (Di 2013, 124). Understanding the photography therefore borrowed techniques such as composition, use of the camera-phone is essential to properly using social media and subject matter from the fine arts. “In photography’s early photography as a tool in landscape architecture. Photography in decades, photographs were expected to be idealized images” the social media age varies in intention and results from past forms (28). Representation had gone from a highly skilled activity, as 19th of photography, such as digital photography and film photography; century artists needed to be trained in the fine arts and be able as well as from other forms of representation, such as painting. The to utilize conventions such as: composition, drawing, perspective, rapid adoption of the camera-phone is altering the representation chiaroscuro, anatomy, poses and symbolism (Berger 1980, of the landscape, from the formerly conceived background of great 65), to one that was still reserved for professionals but required stories, as found in historical landscape paintings, to the forefront of a different set of skills that were much more vocational as early the mundane and the everyday. photography was complex process of machinery and chemistry. The camera-phone, a mobile phone that has a camera built The film camera however changed this and provided a medium into it, is a relatively young technology, and has replaced the stand- for anyone to use. For example, Kodak, the prominent camera alone digital camera in a short period of time. In 2003 the digital manufacturer of the 20th century, had the slogan: “You press the camera had surpassed the film camera in sales (Chesler 2012, 104). button, we do the rest” (Sontag 1978, 53). The development of Yet by 2011, Nokia, the mobile phone manufacturer, had become film photography, a medium of representation so easily used by the the largest camera manufacturer by adding cameras to their mobile masses, is partially responsible for relinquishing the representation phones. In fact, Nokia at the time “put more cameras into people’s of landscapes from professionals to the general public. Within the hand than in the whole previous history of photography” (Palmer realm of photography, the professional artist had not entirely been 2012, 85). This timeline is significant because the speed and replaced by amateur photographers; professional photographers

11 1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES continued to exist and be influential throughout the 20th century readily, the medium of digital photography can be deployed with a and to this day, such as twentieth century landscape photographer minimum of care” (Coyne 2012, 165). The photographer has the Ansel Adams and contemporary photographer Edward Burtynsky option of photographing everything and anything, taking several who is known for his images of vast industrial landscapes, but snapshots of the same subject, and choosing the image that best amateur photography gained significance through the sheer narrates their story. number of participants. The representation of the landscape, How do digital photographs narrate? And how can they once an art reserved for skilled professionals, had become a less be used in digital landscape narratives? Photography can be used thoughtful, less time consuming, and often unintentional practice. to understand narratives as we can imagine actions based on Author of About Looking (1980) and art critic John Berger writes the vast amount of detail in a photograph. “Photographs are filled “that the taking of a photograph ceased to be a ritual and became with substance, lots of substance per square inch. This is what a “reflex” ” (49) due to the invention of the lightweight camera. A represents life” (Berger 1980, 44). Photographs replicate what the common opinion of the late twentieth century as shared by writer eye can see with such precision that we can clearly understand and filmmaker Susan Sontag in her book On Photography (1978): subject matter due to the indistinguishable visual resemblance “Recently, photography has become almost as widely practiced between the image and the real thing. Photographs do not narrate an amusement as sex and dancing—which means that, like every on their own; they “preserve instant appearances” (51). “What the mass art form, photography is not practiced by most people as an camera does, however, and what the eye in itself can never do, is art” (8). Photography, when practiced by professionals as an art, to fix the appearance of that event” (50). It is therefore up to the can be intentional and meaningful, where artistic conventions are viewer to read the potential narrative in a photograph. In describing used to portray something, whereas amateur photography does a photograph that holds his attention, philosopher and critic Roland not follow traditional conventions. Amateur photographs are much Barthes (1981) writes: “it animates me, and I animate it. So that is more mundane and banal than the professional arts, representing how I must name the attraction which makes it exist: an animation. the realities of everyday photographers. Film photography was The photograph itself is in no way animated (I do not believe in quicker and easier to use than traditional art forms such as painting, “lifelike” photographs), but it animates me: this is what creates every but film was not a limitless resource, and the price of filmand adventure” (20). Both the photographer and the viewer therefore developing photographs was relatively expensive, reserving the act form the narrative. The intention and the context of the photograph of photography to special events. Photographs were for preserving belong to the photographer. This is one of the concerns with memories (Berger 1980, 50), memories of loved ones, of travel, or acquiring information from photographs; to the uniformed reader, birthday parties and weddings. Photographs were employed to some information is missing, which could lead to misinterpretations remember and narrate our lives. by the viewer. Knowledge of time, place, event, and subjects are all highly valued to properly use photographs as a form of information to construct digital landscape narratives. Digital Photography Digital photography and camera-phones have made the Social media and digital photography are well positioned act of taking a photograph even more prosaic as the potential for the construction of accurate digital landscape narratives. for storing digital photographs is nearly infinite and inexpensive. Photographs on social media provide a plethora of information The abundance of digital photographs has likely affected the such as author, date, time, location, subjects, as well as the representation of landscapes. “As the cost per image at source opportunity for caption and commentary by the photographer for amateur photography is negligible, and images can be deleted and essentially all invested parties (Coyne 2012, 164). But within

1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES 12 the realm of social media we must understand that photography Iphonography (Chesler 2012, 107), has emerged as a term to has changed once more; the capacity to take essentially unlimited encompass the act of taking, sharing and viewing photographs amounts of photographs, the ability to edit photographs on the go, on smartphones and tablets. The term derives from the fact that the capability to share photographs instantly, and the opportunity “the iPhone was really the first phone to not only have a high to view photographs from anywhere on mobile devices are resolution camera, but a large screen” (Palmer 2012, 87); and “what blending the digital and physical world and essentially embedding distinguishes the iPhone as a camera is its capacity to perform the photographic act into everyday life. This is not a completely real-time digital transformations, translations and transmissions on new phenomenon; film photography, now mostly replaced by mobile amateur images” (Chesler 2012, 107). The term describes digital photography, has established the photographic act as a shift in photographic practices, but it is essential to note that commonplace. One would not be surprised to see people taking this is no longer limited to the Apple iPhone, since most, if not photographs when out in public. Sontag (1978) writes: “Ultimately, all smartphones today have these capabilities. iPhoneography having an experience becomes identical with taking a photograph “signals a shift in thinking about photographs as being primarily of it, and participating in a public event comes more and more to be about representation to thinking about photographs as information” equivalent to looking at it in photographed form” (24). This statement (Palmer 2012, 90). The information within these photographs is rings true today, as sharing an event via social media has become essential to the construction of digital landscape narratives. The act part of the event, as well as experiencing an event via others on of photography with camera-phones has been described as “visual social media. The acts of taking, sharing and viewing photographs speech” (Rubenstein 2005, 113-118) because the pairing of the are therefore not only ways to share and read our communities’ smart-phone and social media has led to the common “practice narratives, but also make up a significant part of contemporary of telling stories through uploaded images” (Chesler 2012, 105). narratives. “ ‘Everyday life’ for much of the world is becoming Architect and University of Edinburgh professor Richard Coyne increasingly technologically mediated” (Murthy 2008, 849). The (2012) explains that through smart-phones and social media, process of curating digital landscape narratives should include the people deploy digital photographs “in their storytelling, helping to act of each individual contributing to the narrative via social media as construct one’s self-image and that of a group” (165). Photographs, not only a contribution of content, but also as content itself. Hence, conceived of as visual speech, along with all of the contextualizing the acts of taking, sharing and viewing social media content are aspects and opportunities of social media, create an excellent also part of digital landscape narratives, and landscape architects condition for narrating the everyday and storying public space. can consider these acts in their design process and in the narratives The new vernacular of iPhoneography consists of many that they curate. I will proceed to explore how the contemporary practices that have yet to be thoroughly studied by contemporary photographic act fits within our everyday experience and how its anthropologists or scrutinized by photography critics. But one of the purpose is crucial to modern narratives. most significant practices in this representational shift is the ‘selfie’. The ‘selfie’ is “a fast self-portrait, made with a smartphone’s camera and immediately distributed and inscribed into a network” (Saltz iPhoneography The primary intention of digital photography has evolved 2014). I will admit that upon beginning this research, I assumed to narrate our lives in real time, rather than to store memories. This that the ‘selfie’ would likely be a nuisance, an abundant dataset paradigmatic shift is producing a new photographic vernacular, one that would likely be filtered out to find ‘real’ data about landscape that is within the iPhone’s (or smartphone’s) Universe of Reference narratives. But a ‘seflie’ “is an instant visual communication of where (Chesler 2012, 99). iPhoneography (Palmer 2012, 87), also spelled we are, what we’re doing, who we think we are, and who we think

13 1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES is watching” (Saltz 2014). The ‘selfie’ is a meta-representational act; to in written or verbal language in the same amount of time, due it does not narrate an event where the photographer is representing to the vast amount of detail in photographs and their replication the acts of others, but it is a representation of the act of taking a of reality. These photographs will make up a large portion of the ‘selfie’ in itself. It contributes directly to a contemporary narrative original data – the user created data, that along with written data in about the blurring of physical and digital boundaries within the the form of ‘Tweets’ and ‘Status updates’ will be crucial in mapping landscape. The ‘selfie’ is itself an experience to be had upon the digital landscape narratives. landscape. And landscape architects can use social media to better The photographic act, although becoming mundane, is an understand how to design for it. Social media and the camera empowering one; it puts the power of composition into the hands phone are not only sharing our experience with the world, but also of the photographer. The photographer becomes the author in an creating new experiences to be had. act of photographic narrative. Ansel Adams “urges that we stop The camera-phone bears characteristics that are unique saying we “take” a picture and always say we “make” one” (Sontag and different from the digital camera and the film camera. The 1978, 123). The photographer therefore has the opportunity to camera-phone appears much less intrusive than the previous construct his or her own narrative through the process of making cameras, likely due to its disguise as a phone and multimedia a photograph. Landscape architects must be aware that the data device. One cannot be sure whether someone else is using the gathered on social media is not an exact representation of reality, phone as a camera or performing a myriad of other tasks (Coyne but information that is created by people, and by communities. 2012, 163). “The phone is generally ready to hand. Unlike most Sontag (1978) writes: “Nobody takes the same picture of the same single function digital cameras, the smartphone does not need thing, the supposition that cameras furnish an impersonal, objective to be packed away in a protective case” (163). The quick access image yielded to the fact that photographs are evidence not only and always-in-pocket aspect of the camera-phone makes it readily of what’s there but of what an individual sees, not just a record available to capture the everyday, and allow users to narrate but an evaluation of the world” (88). iPhoneography provides the their landscape experience. “Since the camera phone is always opportunity for communities to build communal narratives, providing available, it supports a particularly mobile and informal way of everyone with a medium to narrate. Through the curation of digital taking and consuming images, including visual jokes and functional landscape narratives, landscape architects can define communal visual notes“ (Palmer 2012, 86). iPhoneography is therefore not narratives through the abundance of photography on social media, often an intentional artistic act, but a form of communication, that where popular subject matter gains significance, and outliers will is embedding the act of sharing photographs on social media in stand out as being different from the crowd. everyday conversation and everyday life. “Digital photography is A photograph on social media is shared by a user who ubiquitous and operates ostensibly with little regard for the authority has selected to share said photograph for a reason; and within of professionals and experts” (Coyne 2012, 162). Practitioners of the realm of ‘visual speech’, it is the subject matter that speaks. iPhoneography are most often not concerned with traditional artistic Sontag (1978) writes: “To photograph is to confer importance” practices and forms of representation, and the ensuing narratives are (28). But today we might say: to ‘share’ is to confer importance. not built around conventions such as symbolism and composition. Sontag (1978) also writes: “In teaching us a new visual code, The narratives are created through a new photographic language photographs alter and enlarge our notions of what is worth looking where, along with the contextual information such as captions at and what we have a right to observe” (3). This resonates today, and descriptions, the image becomes part of the story telling. The as various people could share their experience upon a landscape photograph can tell us more in a glance than we could read or listen through digital photographs on social media platforms, but each

1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES 14 user could provide a varying point of view – employing importance to differing subject matter (Coyne 2012, 174). The photographic act is an empowering one for it allows the user to decide what is worth looking at. Acting as curators of digital landscape narratives, landscape architects can employ the self-empowering aspect of social media to determine what individuals, within communities, value in their landscapes. Every photograph shared on social media, just as every opinion shared as text on social media, makes up the first layer of data for digital landscape narratives. The actual content of the data adds to the narrative. A photograph of children digging in a sandbox, or a photograph of a seedling growing through the crack in an abandoned parking lot, or an image of a parade on an urban boulevard; they all ‘tell’ a part of a story. These photographs become building blocks to the narrative by bringing a level of significance to the subject. Curating this data, the “active and intentional process of making choices about what is most meaningful” (Liu 2012, 31), is essential to constructing digital landscape narratives. Landscape architects can act as curators of this digital information, quantifying and qualifying it. Certain people could be selected to represent groups, and their data could be used to build narratives. Or photographs could be divided by subject matter to identify popular landscape issues and opportunities. Rare subject matter could be used to bring new attention to ignored or forgotten aspects of the landscape. It is therefore important to note that within this curatorial process, the professional – the landscape architect, is empowered through their decision making, and much caution and responsibility must be applied to achieve a truthful and honest narrative. In the Data Analysis & Operations chapter of this practicum I will explore modes of curating social media data and the impacts that this will have on the digital landscape narrative, and the design and planning implications for the selected site.

15 1.4. REPRESENTING DIGITAL LANDSCAPE NARRATIVES 1.5. METADATA Defining Metadata (Stefanidis, Crooks & Radzikowski 2013, 333). Time is another The act of curating data is similar to the act of mapping way for designers to filter social media data. When combined with data; both involve making decisions about what matters. Curating geospatial data, temporal data can be added to assist designers the original data involves making choices about subject matter, for in understanding how sites are used during certain times, such as example photographs may be counted and organized based on time of day, seasonal use, or during a yearly occurring events like their subjects, whereas mapping involves making choices about festivals and markets. which data to represent, how to represent it, and what layers of information can be combined to make a map. Mapping data in Hashtag & Folksonomy the context of digital landscape narratives involves metadata and Social media users can also add metadata to their original social network data. In the following sections I will develop an data, for example hashtags are added to content by typing the # understanding of metadata and where it comes from. I will also symbol followed by a word or a string of words (e.g. #hashtag or delve into the act of mapping, to further comprehend what such an #FestivalDuVoyageur). Hashtags are often added to a photograph’s act involves and its repercussions, and finally I will explore the use caption, or within a comment section related to a photograph. of social network data in the design and planning process. Hashtags are a form of metadata with which users can tag Metadata can be found within all the user-created content data, such as photographs or text, for grouping and organizing on social media. Every photograph and every piece of data, carries purposes (Bruns & Burgess 2011, 2). A hashtag is a hyperlink to with it information that can be used to classify and organize it, such another webpage that displays a dynamic archive containing all the as location, time, and various other information about the user. “The photographs or text that have been tagged with the same hashtag, iPhone automatically tags photographs with their location, allowing most often within a social media platform. Hashtags can be added images to be browsed and arranged geographically” (Palmer 2012, by the author at the point of sharing data, or by other approved users 89). This data allows designers to filter their data by selecting at any point in time. Other forms of metadata can also be added photographs that were only taken within a desired landscape, or by by users, for example by tagging people or places in photographs. selecting ‘tweets’ that were shared from a specific location. “Twitter “Digital photographers and their audiences can tag photographs users are allowed to tag tweets with their current geospatial location. and elements within photographs presented online, contributing to Specifically, users can set their geographical location by specifying a kind of community-based metatagging or ‘folksonomy’ ” (Coyne a city or region or by allowing Twitter to track their GPS longitude 2012, 166). Designer Manuel Lima explains in Visual Complexity: and latitude coordinates. When a new tweet is produced, Twitter Mapping Patterns of Information (2011) that “folksonomy is an records the geographical information of the user at that moment, alternative system for categorizing content by means of informal along with a variety of other metadata” (Frias-Martinez & Frias- tags—specific keywords assigned to a piece of information (e.g., a Martinez 2014, 240). While this does present a privacy issue that web page, video, image, computer file)—which describe the item will be discussed in the final section of this chapter, the geography and facilitate its retrieval during browsing or searching” (62). The of data is likely becoming ever more common. “The popularity of term is a portmanteau of folk and taxonomy, and was coined by geographically tagged social media is facilitating the emergence of information architect Thomas Vander Wal in 2004 (62). Folksonomy, location as a commodity that can be used in organizing content, also known as social classification or social tagging, is a bottom- planning activities, and delivering services. We expect this trend up classification system that contrasts with top-down classification to increase as mobile devices become more locationally aware”

1.5. METADATA 16 systems such as the Dewey Decimal Classification (DDC) or the Library of Congress Classification (LCC) (62). “In DDC, each book or document has a unique reference in a single immutable hierarchical structure. In contrast, a digital object created by folksonomy is defined by different tags (metadata), allowing it to be ordered and located in multiple ways. It is also a highly adaptable method, since it ultimately relies on the natural language of the community or individual using it” (62). Social tagging is useful because new tags can be created for new and specific circumstances; as well, photographs, or any form of original data, can be tagged with multiple tags allowing it to be searched and archived under “We act and live in networks, so it makes sense that we a variety of terms. It is important to note that folksonomy, while start thinking in networks” useful, does not entirely replace top-down classification systems, (Lima 2011, 71) as it cannot properly handle equivalence, hierarchy and certain semantic relationships (62). Information architect Peter Morville describes folksonomy as “an overhyped exaggeration” (62). A folksonomy may not be a perfect system, however it does offer an excellent way for landscape architects to filter information in the process of mapping digital landscape narratives. In the Data Analysis & Operations chapter, I will use metadata to narrow the original data to match the landscape in question for a particular time frame. I expect that common terminology relating to the landscape in question will be uncovered and unexpected forms of metadata may become apparent.

17 1.5. METADATA 1.6. SOCIAL NETWORK DATA Social Network Data Working with Social Networks The third and final layer of data that I propose in mapping Networks are a part of everyday life; they involve agents digital landscape narratives is social network data. This type of acting independently, while also interacting with other independent information, like metadata, is not immediately visible. Social network agents. Networks are generally not stagnant; they are dynamic data is the information that emerges when social interactions and and in flux as each actor’s actions alter the network. “Networks are connections are made on Web 2.0. Landscape architects can use not just an omnipresent structure but also a symbol of autonomy, this information to better understand where landscape narratives flexibility, collaboration, diversity, and multiplicity. As non-hierarchical come from. Networks of social media users can be studied, and just models, networks are embedded with processes of democratization as with metadata, social network data can be filtered to limit data that stimulate individuality and our appetites for learning, evolving, to pertinent information about a specific landscape, or landscape and communicating. They are, in essence, the fabric of life” (69). issue. A designer could for example search for all the photographs Social media can provide us with insights into some of the ways posted on Facebook in 2015 about the Festival du Voyageur. They in which social networks belonging to particular landscapes are could do this in a myriad of ways: by searching through hashtags, shaped and how they change over time. The temporal changing or by limiting information to geographical location, or both. Once of networks can be described as “network dynamics” (Dempwolf the information is filtered, social network data can be used and & Lyles 2010, 25), a term that arises from network sciences, mapped to understand more about the users who are contributing whose role is to examine “the interconnections of various natural to the narrative. Social network data could inform us that most of and artificial systems in areas as diverse as physics, genetics, the agents are connected in some way, or are part of an existing sociology, and urban planning” (Lima 2011, 18). Although it is a formal community. But we may also learn that the agents make up a relatively young field, networks sciences offers much background much more complex informal community, and that this community knowledge into networks and how to work with them. However, is made up of smaller sub-groups, where some groups have more “the landscape of social media remains a partially undiscovered and prominence and ‘louder voices’ than others; or we may find that poorly mapped terrain” (Smith et al. 2014, 13). It is for this reason the agents are almost entirely disconnected. Through this process that this practicum will be exploring the use of social media as a of mapping social network data, along with the original data tool in landscape architecture, as precedents directly connecting and metadata, landscape architects can better understand the social media and landscape architecture within the realm of communities that they are designing for. In the following section, I community engagement have yet to be thoroughly established. will develop an understanding of digital social networks and the act “As the popularity of social media is growing exponentially we are of mapping metadata and social network data, which are all key in presented with unique opportunities to identify and understand the process of mapping digital landscape narratives. information dissemination mechanisms and patterns of activity in both the geographical and social dimensions” (Stefanidis, Crooks & Radzikowski 2013, 336). We can therefore look to the practices of network visualization or information visualization whose aims are to visually translate “large volumes of data into digestible insights, creating an explicit bridge between data and knowledge” (Lima 2011, 18). Network visualization can be used to analyze social media networks. For example, network maps can be “created by

1.6. SOCIAL NETWORK DATA 18 drawing lines between Twitter users that represent the connections they form when they follow, reply to, or mention one another” (Smith et al. 2014, 5). This process can provide us with insight into the composition of the network. “Some networks are composed of just a single group, while others are divided into sub-groups. Each group can be more or less connected to other groups. These structures tell a story about the kinds of interactions that take place in Twitter” (11). The field of network visualization provides several practices and conventions that will be useful to mapping networks and digital landscape narratives. Network visualization helps us understand data by discovering patterns, connections and structures (Lima 2011, 12). Network visualization will be discussed and expanded in the ensuing sections, but to understand the impact of network visualization on digital landscape narratives, we must first comprehend what is involved in the act of mapping, and what impacts mapping has upon landscapes, narratives and networks within the realm of landscape architecture.

19 1.6. SOCIAL NETWORK DATA 1.7. MAPPING Map - Noun unmappable mappable. As we struggle to steer through When we think of maps, we tend to think of road maps, the torrent of data unleashed by the Internet, and to situate whether in physical forms, or digital forms such as Google Maps. We ourselves in a world in which commerce and community use these maps to get from point A to point B in the physical world, have been redefined in terms of networks, mapping and the information available on these maps is specifically selected has become a way of making sense of things. It is the to cater to our destination oriented needs. But maps need not be conceptual glue lining the tangible world of buildings, only about moving through the physical world. Maps can be used to cities and landscapes with the intangible world of social depict a variety of things. For our purposes, we could create a map networks and electronic communications. Mapping is that depicts where photographs were taken within a landscape. also a core aspect of what designers do. To design is to This type of map would provide information for the reader to orient invent strategies for visualizing information that make new themselves, while also using photographs to represent what the interpretations possible. (12) experience is within that space. This type of finalized map would be Mapping is therefore not only about representing information, used as a form of communication, where the landscape architect but about selecting and combining information to better understand can provide curated information to clients, and communicate parts the conditions, as well as discovering something new about the of a digital landscape narrative. A map in this sense can be used to information. Mapping digital landscape narratives could provide a inform the client about the intentions behind planning and design myriad of new insights into a site. We could discover where people decisions. “A good map lets you know where to strike for the best are coming from and where they are going. We could learn about opportunity” (Van Weelden 2005, 26). A map can therefore be used the users of the site, such as what they do upon the landscape, but by landscape architects to justify design interventions. also why they entered the landscape. We could compare a variety of digital factors, such as type of narrative, or type of use. We could find which users belong to certain groups. And we could correlate Mapping - Verb this information to a variety of ‘real world’ factors, such as time, The true value of maps comes from the act of mapping, weather and events taking place within the landscape. We could rather than the finalized product. A map, a noun, is a completed map social networks, define communities and learn who might be document; mapping, a verb, is a process; ongoing, and incomplete important stakeholders in a landscape architecture project. (Abrams & Hall 2005, 12). Mapping is “a mode of gathering, Mapping is a process that involves combining and presenting, perceiving and reconceiving knowledge of the world manipulating information, wherein we do not always anticipate what and our place in it” (17). Understanding our place in the world the end result will be. Landscape architect James Corner writes in is becoming ever more complex with the blending of digital and his essay The Agency of Mapping (1999): “Mapping is key here for physical realms, where geographical proximity may be less it entails processes of gathering, working, reworking, assembling, significant than other forms of digital connection such as network relating, revealing, sifting and speculating. In turn, these activities proximity. Janet Abrams and Peter Hall, authors of Else/Where: enable the inclusion of massive amounts of information that, when Mapping: New Cartographies of Networks and Territories (2005) articulated, allow certain sets of possibility to become actual” write the following about the act of mapping: (228). Therefore one of the goals of mapping digital landscape Mapping has emerged in the information age as a means narratives is to discover the potential of landscape. New design and to make the complex accessible, the hidden visible, the planning opportunities could arise that would have previously been

1.7. MAPPING 20 overlooked. Mapping provides a means of “finding” and “founding” Corner’s Mapping Operations new projects, “effectively re-working what already exists (224). Corner has identified three essential operations in mapping: Through a process of bringing together narratives, social networks, 1. “the creation of a field, the setting of rules and the establishment as well as data gathered from standard landscape architecture of a system” (231), which we can think of as process of defining site analysis, we can redefine where new landscape architecture questions about digital landscape narratives and establishing interventions should take place and how they could manifest. rules as to how mapping can answer them Corner (1999) writes: 2. “the extraction, isolation or ‘de-territorialization’ of parts The capacity to reformulate what already exists is the and data” (231), which we can think of as the acquisition and important step. And what already exists is more than just filtering of data from social media the physical attributes of terrain (topography, rivers, roads, 3. “the plotting, the drawing-out, the setting-up of relationships, buildings) but includes also the various hidden forces that or the ‘re-territorialization’ of the parts” (231), which we can underlie the workings of a given place. These include consider as the way in which data is represented, and the natural processes, such as wind and sun; historical events affects of such decisions (231) and local stories; economic and legislative conditions; Employing these steps allow us to establish layers of even political interests, regulatory mechanisms and information where the adding or removing of layers can alter the programmatic structures. (214) understanding of the information. Each layer can provide insight into In contrast to planning and designing, whose aims are to prescribe the relationships of various types of data. And the act of mapping answers to questions, and to provide final decisions; mapping can present new relationships that were previously hidden within provides “a suggestive vehicle that ‘points’ but does not overly the data or even in plain sight. Within the realm of digital landscape determine” (228). Hence mapping is not a replacement for design or narratives, new relationships could present themselves in a myriad planning, but an act that informs the latter two. It allows landscape of forms and connections, between conscious and unconscious architects to understand landscapes in a new light. As a qualitative agents, such as people and social network platforms, or between research method, in the Data Analysis & Operations chapter of physical and digital elements, such as weather and particular this practicum I will apply the act of mapping to all three levels of iPhoneographic practices. data, using Corner’s mapping operations, explained in the following section.

21 1.7. MAPPING Subjectivity of Maps The act of mapping, like the acts of curating, photographing, or ‘sharing’ on social media, is a subjective practice and an empowering one for the creator of the map. All of these practices involve an agent making decisions about significance and relevance. Choosing to map certain data over others is to convey importance to that data. Maps are therefore also not objective, nor do they perfectly reflect reality. “The map is both a scientific instrument and an artistic representation” (Cosgrove 2005, 148). Maps are often perceived as exact and neutral; they are in fact human constructs and should be treated as such. “Maps are highly artificial and fallible constructions, virtual abstractions that possess great force in terms of how people see and act” (Corner 1999, 216). One of the virtues of mapping is that it can be used as “an active agent of cultural intervention” (217). Maps have been used to influence power and authority, which we can clearly see in the establishment of physical boundaries between nations and states. Maps can be used to claim rights to land and resources, and affect public perception. The aim of mapping within the realm of mapping digital landscape narratives should not be to limit access and control experiences, but to provide access to spaces, establish transparent processes, discover new possibilities, and foster new and existing relationships. One of the biases of this research resides in the fact that, as the creator of the maps; the one who creates the field, chooses which data to extract, and how to visualize the information, I become an agent affecting the outcome of the digital landscape narrative.

1.7. MAPPING 22 1.8. SOCIAL NETWORK ANALYSIS group. The application of SNA in the process of mapping digital “When everything is connected to everything else, for landscape narratives can provide new types of information that are better or worse, everything matters.” useful to landscape architects. Where landscape architects have (Mau 2004, 129) traditionally been concerned with physical conditions and human behaviour, understanding interpersonal relationships and community Defining Social Network Analysis networking is likely a new form of information available to landscape Social Network Analysis (SNA) is an established field that architects, or at least a form of information that has not been available has terminology and many practices that are essential to mapping in such abundance and to such a large scale since the development social networks that will provide useful tools in mapping digital of social media. “This rise in social media and the ability for analysis landscape narratives. In this section I will explore the use of Social raises several concerns with respect to the suitability of traditional Network Analysis as a design and planning tool, as well as common mapping and GIS solutions to handle this type of information. We no practices and approaches used in the field. In the Data Analysis & longer map just buildings and infrastructure, but we can now map Operations chapter of this practicum I will look to SNA for established abstract concepts like the flow of information in a society, contextual theory in understanding the implications that social media networks information to place and linking both quantitative and qualitative have on the selected landscape and the corresponding digital analysis in human geography” (Stefanidis, Crooks & Radzikowski landscape narratives. “Social network analysis is both a theoretical 2013, 333). In this, Social Network Analysis resembles William perspective on how the interactions of individual autonomous actors Whyte’s field work where he captured video of people in public form the social structures of community, and a set of analytical tools spaces, their actions, patterns of movement, and interactions were to analyze those interactions and social structures as networks of all noted to inform the planning and design process; SNA on the nodes (actors) and ties (relationships)” (Dempwolf & Lyles 2010, 5). other hand captures representations of a network, where actions, I will therefore also look to SNA to establish a research method interactions and patterns are noted. SNA varies from Whyte’s work when dealing with social network data. Landscape architects and in that the observations are about activity in cyber-space, rather planners are often not immersed long enough or thoroughly within than physical space, and offer less programmatic results but more their clients’ communities to fully understand them, their narratives relational and community-based conclusions. Smith et al. (2014) and their politics. “SNA offers a systematic method for modeling and compare Social Network Analysis to taking an aerial photograph understanding the interactions of multiple groups and organizations or video of crowds in public spaces: “No one snapshot or video in the abstract” (Dempwolf & Lyles 2010, 22-23). With such a tool clip of a crowd completely captures the event, but taken together we can begin to analyze the community involved with a landscape crowd images provide some insight into an event or gathering” (11); in a relational way, rather than in a physical, spatial or hierarchical “like aerial crowd photographs, social media network maps show manner. “Key players, cliques and cohesive subgroups may be the size and structure of the crowd along with the key actors in identified and their relative qualities assessed” (22-23) which will that crowd” (11). Social network data and its analysis provide an allow us to indentify key stakeholders, and each individual’s position overview of a community’s structure and this informs the original within the network, including a qualitative assessment of their role data, such as social media photographs, just as metadata provides and contribution to the digital landscape narrative. This type of more information about that original data. SNA can be used to mapping could not only help inform a landscape narrative, but it better understand who is ‘telling’ the story in considering digital could provide opportunities to foster new connections within a landscape narratives.

23 1.8. SOCIAL NETWORK ANALYSIS Network Visualization Functions of Network Visualization The representation of social network analysis is termed Functions of network visualization are conventional “network visualization” (Lima 2011, 80) and is ingrained in mapping practices in the charting and representing of networks, where each practices. We can practice network visualization with software step provides a goal which aims to better understand the network such as Gephi (Bastian, Heymann & Jacomy 2009), or NodeXL in question. Lima (2011, 80) describes five key functions of network (Smith et al. 2010); both programs allow one to chart and visualize visualization: network data that has been extracted from social media platforms. 1. Document – which we can think of as similar to surveying, Lima (2011) writes: “Mapmaking and the “charting” of networks are where the goal is to simply represent the data as it is. fundamentally bounded by similar goals of simplifying, clarifying, 2. Clarify – which is to simplify information and adjust graphic communicating, exploring, recording, and supporting” (80). elements to best represent something or an intention. 3. Reveal – which can be applied to discover new opportunities that were not immediately apparent to the designer or the Graphical Markers Social Network Analysis, like mapping, often employs client. three types of graphical markers (80): 4. Expand – where landscape architects can provide more 1. Areas information about a community than is already apparent to 2. Line features them. 3. Point features 5. Abstract – where intangible concepts and new opportunities Lima’s three graphical markers will be used in the Data Analysis & arise from the manipulation of data and graphic elements. Operations chapter of this practicum in the process of visualizing These five functions provide conceptual approaches to ways in the social networks relating to the landscape in question. Rather which social network data can be represented and manipulated than describing functions, the graphical markers are forms used in the mapping of digital landscape narratives. Within the Data to qualify network data. Point features (nodes) will likely represent Analysis & Operations chapter of this practicum I will apply the five individual actors within the network, while line features (edges) functions of network visualization as a qualitative research method will likely represent connections in between the actors, whether to analyze social networks pertaining to the landscape in question. they are Facebook ‘friends’ or follow one another on Twitter. Areas may be used to identify relational space where overall qualities are Principles of Network Visualization distinguishable, for example, actors may be highly connected or Lima (80 - 91) describes with more specificity eight have similar qualities to others in that area, i.e. a group of journalists, principles of network visualization, which establish practices and or people who are passionate about a specific topic. processes to be used in charting social networks. I will apply these principles in the Data Analysis & Operations chapter of this practicum to evaluate and represent the networks found on social media, relating to the landscape in question. The principles will also make up part of the method of mapping digital landscape narratives, when considering which information to include, why it is valuable, and how to graphically represent such data. The following list explains Lima’s principles of Network Visualization and how one may apply these as a research method:

1.8. SOCIAL NETWORK ANALYSIS 24 1. Start with a Question – in our case a question could be very (86). This can be done in a variety of ways, most often through general where gaining a better understanding of a little known color or grouping of nodes. Lima noted that there are five ways network is the goal, or it could be much more specific where of grouping: “alphabetically, by time, by location, by a particular we would like to better understand an agent who is highly continuum (or scale), and by a specified category (e.g., images, influential in a digital landscape narrative, via their contribution videos, text)” (86). And that in grouping we should consider through everyday photographs. similarity (graphical treatment), proximity (spatial arrangement), 2. Look for Relevancy – where “content” and “method” should and common fate (motion) (91). Graphically, objects that are both be selected based on the context and the goal. similar, close together, or move together are perceived as 3. Enable Multivariate Analysis – where considering multiple related (91). variables simultaneously within a network can provide a 7. Maximizing Scaling – Figure 1.1 below describes the particular view of the network. difference in scaling when considering social network analysis: 4. Embrace Time - “Time is one of the hardest variables to Macro Analysis, Relationship Analysis, and Micro Analysis. map in any complex system. It is also one of the richest. If we consider a social network, we can quickly realize that a snapshot in time can only tell us a bit of information about that community. Alternatively, if time were to be properly measured and mapped, it would provide us with a comprehensive understanding of the social group’s changing dynamics” (84). 5. Enrich your Vocabulary – here Lima (86) focuses on Nodes and Edges. “Nodes are the atomic units of a graph, the objects within the system. Instead of being depicted as empty Figure 1.1: Social Network Analysis Scaling (Blaise Lachiver) squares or circles, they can be made more intelligible with an appropriate use of color and graphical features” (86). “Nodes In relation to digital landscape narratives, Macro Analysis can be interactive, with hidden links”(86); when working with could be used to understand the structure and size of a landscape’s digital landscape narratives a likely approach would be to social network, describing how many people are contributing to provide links to each user’s available social media information or invested in the narrative. Relationship Analysis could be used or specific photographs that makeup the digital landscape to understand how various stakeholders are connected. Micro narrative, by ‘clicking’ on a node. Edges are the lines used to Analysis would be used to better understand a specific actor, connect nodes. In the application of edges we can consider which would provide more information about that user, such as certain terminology: such as length, the distance of the line their contribution to the narrative as well as other qualitative and connecting two nodes, which could depict qualities such as quantitative information. degree of relationship or physical distance, and width which can describe density or intensity of connection, as well as color to categorize groups, and shape to describe to type of network and its structure. 6. Expose Grouping – “The ability to showcase variation in a depicted system is a central attribute of network visualization”

25 1.8. SOCIAL NETWORK ANALYSIS Network Architecture and Actor Network Theory individual choices (Dempwolf & Lyles 2010, 6). While human actors The network architecture, the way in which the network likely have the largest influence on networks structure as their is structured, is affected by the relationships between the users. choices are significant, social media platforms provide mediums When considering digital landscape narratives that are dependent and accessibility that play a role in shaping contemporary networks. on social media, we can measure these relationships by mapping In considering network structure, we can look to Smith et which actors within the network are Facebook ‘friends’, or which al. (2014), researchers with the Pew Research Center, who studied actors ‘follow’ or are ‘followed’ on Twitter or Instagram. If the Twitter networks over several years to discover network patterns. landscape in question is represented by a group that has social media “Six structures are regularly observed: divided, unified, fragmented, accounts, such as the Festival du Voyageur Facebook page, Twitter clustered, and inward and outward hub and spoke structures (1). account, or Instagram account; or if a particular social media page Significant nodes have been identified as hubs, who have many or account pertaining to a certain landscape, such as a Facebook ‘followers’, and are essential in disseminating messages, and page associated to a certain public park or neighbourhood, we bridges, who make important rare connections between groups could use SNA to better understand who is invested in a landscape. (12). I will consider these network patterns in the evaluation of These networks are however always in flux, as users are changing social networks pertaining to the landscape in question in the Data who they follow and what they are interested in. The users are Analysis & Operations chapter of this practicum. As a qualitative therefore highly influential in the shaping of a network, as their research method, these predetermined patterns provide a basic conscious decisions alter the network’s architecture. But the users understanding of the roles that each node plays in the network, and are not the only agents that affect the structure of the network. Just how the networks react and transform over time. as social media and photography have created new experiential Smith et al. (5) discovered six archetypal network structures, opportunities by blending the physical and digital world, network where certain networks may display characteristics of one or many structure is also affected by social media platforms and the way in archetypes simultaneously: which they allow users to share content and interact. Anthropologist 1. Polarized Crowd – where two groups have contrasting views and sociologist Bruno Latour (2005) explaines that the technology on a topic and interact mostly within their own group. This in this sense is “a mediator rather than an intermediary”(Light & could be applied during a design process where certain design McGrath 2010, 302). This approach to understanding network flux and planning decisions are supported and contested by varying can be described using Actor Network Theory, in which human and members of the public. non-human actors are understood to have equal agency within a 2. Tight Crowd – where people “have strong connections to social network (Latour 2005). “In considering Actor Network Theory, one another and significant connections that bridge between we can understand that the users of sites, the humans, are not any sub-groups” (21). These groups are considered ‘dense’, alone in creating the experience and that by logging onto a site such where “density is measured as the ratio of the number of as Facebook, potentialities become possibilities, some intended, relationships among a population over the total number of others unintended” (Light & McGrath 2010, 294). In mapping digital possible relationships” (11). Tight Crowds tend to use unique landscape narratives we must consider that the Web 2.0 platforms language, often are aware of one another and are useful in offer both opportunities and constraints to the way in which social identifying key stakeholders surrounding an issue. networks are formed. It should be noted that the concept that 3. Brand Clusters – are networks that generally surround a non-human agents affect network structure has been criticized public topic, where network density is low, and nodes may be by scholars, who view network structure as simply affected by very disconnected as compared to Polarized and Tight Crowds.

1.8. SOCIAL NETWORK ANALYSIS 26 In considering digital landscape narratives Brand Clusters may arise when the landscape in question is used by people from many different geographic areas, within many different occupations and social conditions, for example a provincial park or a city plaza which is used by people across a city or province for a diversity of reasons. Brand Clusters may also appear when the public topic is an event that would attract a myriad of people such as a festival or a market. 4. Community Clusters – which form when a network is composed of several smaller groups or communities. We can consider how a group of environmentalists, a group of athletes, a group of performing artists, and a group of politicians may all be invested in a landscape, such as a park, or even a temporal landscape such as a festival; these various groups are clearly distinguishable and likely very connected within themselves, but are only connected amongst each other by several ‘hubs’ or ‘bridges’. 5. Broadcast Network – which is most often found in a hub and spoke structure. A central figure or organization delivers a message and it is shared outward by other invested members. We can imagine how festival organizers may share pertinent information, or how park supervisors may be announcing changes to park hours. 6. Support Network – another hub and spoke structure, where the central node’s role is to respond to complaints and issues. These are most often revolving around companies, but they are likely common when a landscape issue is one that is dependant on a responsible organization, such as a city’s park branch, or festival organizers. The six archetypal structures can provide landscape architects with a better understanding of the narrative content that they harvest from social media. The structure of the networks can inform the original content, and in turn inform digital landscape narratives.

27 1.8. SOCIAL NETWORK ANALYSIS 1.9. SOCIAL MEDIA & PRIVACY The Ethics of Social Media Research organize and map a plethora of data to gain a better understanding We must also be aware that mapping networks that of a landscape’s narrative, but the information that is presented to thoroughly connect social media content, social media users, and clients, communities, or to the public must provide anonymity to all related metadata presents various ethical and privacy issues. the contributing actors, unless permission is given by the users. The process of mapping digital landscape narratives can reveal The mapping of digital landscape narratives should therefore be much about a community, and the people within it. The information undertaken in a private space, which I will term the ‘private studio’. available could relate to personal information such as age, sex, The designer, representing themselves or their firm, uses collected home address, place of work, interests, religious or political social media data to better understand the narrative. The data itself affiliations, and opinions, etc.. The data could be used to determine must not leave the ‘private studio’ unless the designer/firm receives someone’s location at a specific time. The data could also display permission to do so. Where photographs are concerned, many many photographs of users or taken by users. These are some of images relating to a specific landscape may be organized by topic, the essential topics that arise when considering privacy and social and quantified. The number of photographs depicting each topic media research. It is, after all, this information that brings value to can provide insight into the narrative, or new ideas may emerge social media data and makes it relevant to landscape architecture. from the subject matter. The landscape architect is then responsible However, landscape architects are likely less concerned with to gain the display rights to the photographs from the owners; or the individual details about each user, but about how these users are data must be communicated in an anonymous way. One strategy narrating their experience upon a landscape. The curator of the would be to describe the results of the findings without connecting information has a responsibility to ensure the “anonymization” the information to any specific users. Another strategy would be to (Zimmer 2010, 314) of the data. Therefore properly understanding obtain permission from certain users whose data could be used to the accessibility of the data and how to handle the data are essential represent a group or a category, where the rest of the group remains to the professional’s role in curating it. anonymous. “Concerns over consent, privacy and anonymity do not disappear simply because subjects participate in online social networks; rather, they become even more important” (323). With

The Private Studio limited information, such as first name and last initial, location, The first issue to consider is that social media isa or city, a Google search could reveal a stranger’s identity (Burns customizable space, where each user can provide and limit access 2013, 153). Within the context of landscape architecture, where to specific information to various other users or groups. What one various stakeholders may have contrasting views on a project, and person may be able to see on someone else’s Facebook page competing narratives derived from various social media users within may not be available to others. We can therefore assume that a social network, maintaining anonymity becomes essential since any information that a designer can view while mapping digital the public release of such information could provide the means for landscape narratives can be qualified and quantified, as the designer certain actors to interfere with or impede on other actors ability to has been granted access to said information. But the designer contribute to the narrative. cannot directly redistribute this information, as they may be sharing information that is not entirely public, nor do they have permission from the users to do so. This brings me to the role of the landscape architect as a curator of social media data; they may collect,

1.9. SOCIAL MEDIA & PRIVACY 28 A Consequentialist Approach to Privacy The former is a harm-based approach to privacy protection (Zimmer 2010, 321), but it is essential to understand that privacy concerns do not simply arise where the intent for harm is apparent. We must consider a dignity-based approach to privacy where “merely having one’s personal information stripped from the intended sphere of the social networking profile, and amassed into a database for external review becomes an affront to the subjects’ human dignity and their ability to control the flow of their personal information” (321). Acquiring consent from users allows them to have control over their personal information. This establishes a ‘consequentialist’ approach to privacy, “which holds that what make an action (design) right or wrong are its ultimate consequences” (Light & McGrath 2010, 292). Designers with good intentions may accidentally intrude on one’s personal information and consequentially invade one’s privacy. Therefore a thorough understanding of the data is required before it leaves the ‘private studio’. The variety of social network sites and individual privacy settings should lead to privacy practices that are determined on a case by case basis, where human dignity, anonymity, and the right to control one’s flow of information are respected. While the ethical approach to social media data may be a concern, landscape architects should not shy away from using the abundance of information available to them, as long as privacy practices are followed. The use of digital personal data in consultation and commerce is not a new trend (Stefanidis, Crooks & Radzikowski 2013, 334). “Google itself is basically a marketing tool using the information it collects to improve its customer service” (334). Mapping digital landscape narratives is a tool that could ultimately improve a designer’s understanding of its client and community’s narrative, ultimately improving the customer/client/ community experience.

29 1.9. SOCIAL MEDIA & PRIVACY 1.10. CHAPTER CONCLUSION In this chapter I have established the role that social media plays in contemporary society and how the digitally mediated storying of landscapes can be used a tool in community engagement. Landscape narratives are increasingly becoming an important design tool, and the way in which that they are represented by everyday people on social media, is an excellent participatory resource for landscape architects. In the Data Analysis & Operations chapter of this practicum I will apply the processes and conventions involved in mapping digital landscape narratives to plan and design for the Festival du Voyageur. The original data, metadata, and social network data will be utilized as part of a qualitative research method, in the hopes that linking the community’s narratives to the landscape of the Festival du Voyageur, can lead to an efficient and connected design process.

1.10. CHAPTER CONCLUSION 30 CHAPTER 2: Data Analysis & Operations

31 CHAPTER 2: Data Analysis & Operations 2.1. CHAPTER INTRODUCTION The Festival du Voyageur is a winter festival that takes place in Manitoba, Canada, primarily in Saint-Boniface, the historic French quarter of the City of Winnipeg (Figure 2.1). The festival has traditionally been a celebration of Manitoba’s Métis and French- Canadian heritage (Barker 2012). Having completed its 47th year, the Festival du Voyageur is the largest winter festival in Western Canada with 91,000 attendees in 2015 and 102,000 attendees in 2016 (Festival du Voyageur 2016). The ten-day festival will provide the case study upon which I will explore the possibilities of creating, curating and mapping digital landscape narratives. I hope to discover where opportunities arise and where impasses of the tool become apparent. The festival offers a two-week burst of social media activity, which provides a sizeable yet densely manageable amount of data to analyze. The “Faire rayonner la joie de vivre et la francophonie recurrence of the festival on a yearly basis allows for comparisons à longueur d’année en créant des expériences where time, weather, programming and planning can be sufficiently artistiques, éducatives, historiques et culturelles evaluated. And finally the advantage of the Festival du Voyageur as inspirées de l’époque de voyageurs” a case study is that it is run by an organization that uses surveys, (Festival du Voyageur Mission Statement) creates maps, and adjusts its planning and programming on a yearly basis – allowing for the creation of landscape planning data that can be compared to data created through mapping digital landscape narratives. This is not to suggest that mapping digital landscape narratives is best used for event-based landscape architecture, but simply that an event-based landscape architecture project has advantages as a comparative case study. The data that is collected and created by the Festival du Voyageur organization is a centralized data set. In this chapter I will compare this data to the networked data or social data that is available via social media platforms. In the following section I will describe the festival from a historical, programmatic and geographical perspective; by doing so we can begin to develop themes and subject matter that will make up part of the digital landscape narratives.

2.1. CHAPTER INTRODUCTION 32 Legend

Saint Boniface

1 Assiniboine Park

2 Club Regent Casino

3 St. Martyrs Canadien

N 2 10 km

1

3

Figure 2.1: Map - City of Winnipeg

33 2.1. CHAPTER INTRODUCTION 2.2. FESTIVAL DU VOYAGEUR Origins of the Festival du Voyageur The Festival du Voyageur originated in 1967 with “la petite idée” (Lussier Nelson 2013), (in English: the little idea) of George Forest, a local entrepreneur in the former City of Saint-Boniface; his idea – the City of Saint-Boniface would host a festival that celebrates Franco-Manitoban culture, Métis culture, and the historical Voyageur. The Voyageurs were primarily French Canadians who travelled by canoe across Rupert’s Land and New France to trade furs from the 16th to 19th century. The festival was first conceived to commemorate the first centennial of the Province of Manitoba in 1970, by the Saint-Boniface Chamber of Commerce, along with the support of 18 different community organizations (Festival du Voyageur 2016). George Forest (Figure 2.2) was named the first Official Voyageur; he and his wife Anita embraced this role by impersonating Figure 2.2: George Forest dressed as a voyageur Jean Baptist Lagimodiere and Marie-Anne Gaboury, the first settlers (Festival du Voyageur) in the Red River Colony and grandparents to Métis leader and founder of Manitoba – Louis Riel. George Forest established an aesthetic clothing style for the Festival du Voyageur that features traditional attire, a ceinture fléchée (in English: a colorful sash), a red toque, and the very important use of la raquette (in English: snow shoes) for winter transportation (2016). The first festival was four days long and took place at Provencher Park (Figure 2.4). It featured a walk down Provencher Boulevard (Figure 2.4), a Governor’s Ball, and the Voyageur Trading Post (Festival du Voyageur 2016). It is estimated that the first festival achieved an attendance of 50,000 visitors. In 1971, the City of Saint-Boniface, which had formed around the Basilique-Cathedral (Saint Boniface Cathedral) (Figure 2.4), would amalgamate with the City of Winnipeg, which led to the Festival du Voyageur becoming Winnipeg’s key winter festival. That year the festival would host a snow sculpting contest – the winning sculpture, a pair of boots and a toque, would lead to the official mascot and trademark of the Festival du Voyageur in 1972, Léo La Tuque (Figure 2.3). The festival outgrew Provencher Park within its Figure 2.3: Léo La Tuque first few years and was then relocated to Whittier Park (Figure 2.4). (Dan Harper Photography)

2.2. FESTIVAL DU VOYAGEUR 34 Legend

1 Le Rendez-vous

2 Provencher Park

5 3 Saint Boniface Cathedral

Upper Fort Garry 4 Provincial Park

5 Whittier Park 1

Red River Walk down Provencher Boulevard

2

3

4

N Assiniboine River 500 m

Figure 2.4: Historical Sites – Festival du Voyageur

35 2.2. FESTIVAL DU VOYAGEUR Festival Infrastructure The Modern Festival In 1977 the first log cabins were built in Whittier Park, In an attempt to better understand the subtleties of and which would eventually lead to the construction of Fort Gibraltar variations of mapping digital landscape narratives as a tool, I will be and the Maison Chaboillez, a replica of the Winterer’s Cabin, built comparing the Festival du Voyageur from its 46th anniversary in 2015 100 years prior (Festival du Voyageur 2016). Fort Gibraltar plays a to its most recent anniversary – it’s 47th in 2016. The festival is very significant role in the historical aesthetic of the Festival du Voyageur. similar in aesthetic design, themes, and programming from year to Fort Gibraltar was a trading post originally built in 1810 by the North year, however the Festival du Voyageur makes slight changes to West Company at the Forks, the junction of the Red and Assiniboine the Festival Park, the main grounds for the event; the official off-site rivers (Figure 2.3) (Festival du Voyageur 2016). The fort had 18-foot venues may change from year to year, and slight adjustments are tall palisades where twelve men would oversee wall-mounted guns made to the programming, in an attempt to improve the experience to control the traffic of pemmican in the region. Pemmican is a dried for the festival-goers. In the following sections I will develop an meat and berry product ideal for the voyageurs travels. In 1816 the understanding of the layout of the Festival Park by connecting fort was torn down by rival fur trading company the Hudson’s Bay the landscape and structures to the programming of the festival. Company (Festival du Voyageur 2016). It was soon rebuilt following I will map off-site venues – comparing changes on the city and the amalgamation of the North West Company and the Hudson’s neighborhood scales in the last two years. And I will explore the vast Bay Company, and renamed Fort Garry. Ruins of the original Fort programming of the festival: from an interpretive school program, to Garry settlement can be found at Upper Fort Garry Provincial a citywide arts and music festival, to an urban winter carnival. The Park (Figure 2.4). This leads to the symbolic reconstruction of Fort Festival du Voyageur is a fascinating event that blends historical and Gibraltar in Whittier Park to be the third time this structure has been contemporary narratives. rebuilt. In 2015 the festival ran from Friday, February 13th to From 1978 to 1982 three cabins were built, including the Sunday, February 22nd. The 2016 festival was scheduled from Trading Post, the Workshop and the Forge, followed by a fourth Friday, February 12th to Sunday, February 21st. The 2015 event, cabin in 1998, known as the Warehouse. The palisades were which had the slogan “The World’s Largest Kitchen Party”, featured constructed between 1983 and 1985. In 2001 the Maison du 130 artists, and had 91,000 visits to the Voyageur Park and Official Bourgeois was built in the center of the fort (Festival du Voyageur Venues. The 2016 festival featured 140 artists, and had 102,000 2016). All of these structures make up Fort Gibraltar, the permanent visits to all official sites. The 13% increase in attendance from 2015 structures of the Festival du Voyageur, and the location of a summer to 2016Festival has beendu Voyageur attributed Temperatures to ideal weather (Figure 2.5) (Festival du interpretive center. Voyageur 2016). In 1981, the Festival du Voyageur purchased a warehouse 10 on 768 Tache Avenue (Figure 2.4). It would become the Rendez- 5 vous, housing a concert venue, a bar – Le Canot (in English: the 0 Feb 12 Feb 12 Feb 13 Feb 13 Feb 14 Feb 14 Feb 15 Feb 15 Feb 16 Feb 16 Feb 17 Feb 17 Feb 18 Feb 18 Feb 19 Feb 19 Feb 20 Feb 20 Feb 21 Feb 21 Feb 22 Feb 22 High Low High Low High Low High Low High Low High Low High Low High Low High Low High Low High Low Canoe), and the Festival du Voyageur offices. The Rendez-vous -5

would be home to Télé-Relais, the televised concert series of the -10 2015 Festival du Voyageur. The Rendez-vous was sold in 2006, and the 2016 -15 Festival du Voyageur offices were moved to their current location at -20 233 Provencher Boulevard, where you can find thirteen fulltime staff and a store called the Boutique du Voyageur. -25 -30

Figure 2.5: Temperatures – Daily Highs & Lows -35 2.2. FESTIVAL DU VOYAGEUR 36 Legend

1 Entry Sculpture

2 Rivière Rouge Tent

3 Snow Bar

4 Cabane à sucre 5 3 5 Pembina Tent

7 6 8 La Prairie Tent

7 Fort Gibraltar

2 8 Maison Chaboillez

9 International Snow Sculpture Symposium

Indigenous Winter 9 10 10 Trading Camp 4 6 11 Toboggan Slides 11

1

N 50 m

Figure 2.6: Voyageur Park Plan 2015

37 2.2. FESTIVAL DU VOYAGEUR Legend

1 Entry Tunnel

2 Rivière Rouge Tent

3 Snow Bar

4 Cabane à sucre 5 3 5 Pembina Tent 7 8 6 La Prairie Tent

7 Fort Gibraltar

2 8 Maison Chaboillez

9 International Snow Sculpture Symposium

Indigenous Winter 9 10 10 Trading Camp 4 6 11 Toboggan Slides 11

1

N 50 m

Figure 2.7: Voyageur Park Plan 2016

2.2. FESTIVAL DU VOYAGEUR 38 Voyageur Park The first Friday evening of the Festival du Voyageur begins with the Torch Light Walk, as eager festival-goers are invited to gather at the Canadian Museum for Human Rights; hundreds Festival du Voyageur branded candles are provided to the people to march from the Forks, across the Esplanade Riel, in to Saint- Boniface, and finally to the Voyageur Park. This walk is followed by the Opening Celebrations, when the Festival Park opens to the public. The lighting of a symbolic fire officially opens the Festival du Voyageur, followed by a fireworks show. Once in the Voyageur Park, visitors have a myriad of shows, performances, activities and attractions to choose from (Figures 2.6 & 2.7). Upon entering the park in 2015, visitors faced a large snow sculpture depicting a couple from the fur trade era, waist up, dancing together – an excellent selfie opportunity for Figure 2.8: Entry Sculpture 2015 visitors to announce their arrival to the Festival du Voyageur (Figure (@DougMcArthur – Instagram) 2.8). In 2016, visitors were greeted with an ornately sculpted snow tunnel leading into the park (Figure 2.9). At this point, much of the layout of the Festival Park was the same in 2015 as 2016. After entering, visitors would find themselves outdoor in the International Snow Sculpture Symposium, where teams from around the world, including France, Germany, the United States, the Netherlands, Ecuador, Saskatchewan, Ontario, Quebec and Manitoba, carve art pieces out of 10’ x 12’ x 12’ blocks of snow. On the edges of the International Snow Sculpture area is a central information kiosk as well as food vendors in food trucks and stands who sell carnival themed snacks such as cotton candy, snow cones, popcorn, candy apples, lemonade, and mini donuts. Slightly to the North you would see a way-finding sign (Figure 2.10), pointing to the direction of various attractions, as well as the central fire, where festival-goers gather to warm their hands, greet one another, listen to folk music and watch performers such as fire jugglers.

Figure 2.9: Entry Tunnel 2016 (@DougMcArthur – Instagram)

39 2.2. FESTIVAL DU VOYAGEUR Figure 2.10: Way-finding Sign – Festival du Voyageur 2014 (Blaise Lachiver)

2.2. FESTIVAL DU VOYAGEUR 40 To the North we find the aforementioned Fort Gibraltar, with its tall palisades towering over the central fire and providing a backdrop to the snow sculptures. Two large doors are open during the days and most of the evening, inviting visitors into the interactive and interpretive centre of the Festival du Voyageur. In the center of the fort is the Maison du Bourgeois (Figure 2.11), where themed lunches and dinners take place. It is also the site for the Rendez-vous des Chefs – the traditional pea soup contest that takes place on the final Sunday afternoon. The cabins within Fort Gibraltar are decorated and made to appear as traditional workshops, where actors dressed in period pieces demonstrate their traditional skills and answer visitors’ questions (Figure 2.12). The fort is also the main setting for the Voyageur Apprenticeship Workshops that involve hands-on demonstrations and interactive lectures from knowledgeable artists and craftspeople. One can sign Figure 2.11: Maison du Bourgeois up for workshops in Métis beading, sash weaving, flint knapping, (Konstantin Ostrovski – Instagram) coopering, woodworking, First Nations storytelling, and moccasin and mitten making. If you find yourself in the fort during the daytime, you may witness a reenactment of historic military tactics where La Compagnie de La Vérendrye and The Forces of Lord Selkirk display military drills with flintlock muskets and black powder. If you happen to find yourself within the fort walls at night, you can expect a group of people keeping warm by a fire while dancing to contemporary dance music, as the Bar Gibraltar DJ dance party takes place outside; or you can be transported back to New France in the Kitchen Party, as you can have a drink with traditionally attired people while listening to folk and fiddle music. Directly to the East of the fort is the Maison Chaboillez (The Winterer’s Cabin) (Figure 2.13) where one can join in on a traditional cabaret and tavern experience.

Figure 2.12: Blacksmith Interpreter (Pedro Bedard – Instagram)

41 2.2. FESTIVAL DU VOYAGEUR Figure 2.13: Maison Chaboillez – Festival du Voyageur 2014 (Blaise Lachiver)

2.2. FESTIVAL DU VOYAGEUR 42 Outside of the fort walls, there is one other historical interpretive attraction – The Indigenous Winter Trading Camp, where one can sit in one of two tipis and learn about traditional aboriginal culture and customs (Figure 2.16). Next to this we can find the Snowshoe Trail, where one can learn about the paths of the explorers, as well as the historical and cultural importance of the snowshoe – or one can strap on a pair of snowshoes and walk through the park. During the daytime a 45-minute snowshoe tour along the Red River is offered, and on the two Saturday nights of the festival, a snowshoe tour where one learns how to navigate at night is offered. Horse-drawn sleigh rides are also offered around Whittier Park. For families and children there is a playground that offers a snow hill for climbing, musical instruments, a large snow maze, an interactive sculpted snow-wall (Figure 2.14), and cartoon voyageur Figure 2.14: Interactive Sculpted Snow-wall face cutouts, where children can have their picture taken appearing (@Mikhayla.Ann – Instagram) as fur traders. In 2015 there was an igloo. On the edge of the Voyageur Park there is a hill that leads down to the rest of Whittier Park. Upon this hill is a wood framed toboggan slide, where festival- goers can race one another on the double iced tracks (Figure 2.15).

Figure 2.15: Toboggan Slide (@Emilie.Indigo – Instagram)

43 2.2. FESTIVAL DU VOYAGEUR Figure 2.16: Indigenous Winter Trading Camp – Festival du Voyageur 2014 (Blaise Lachiver)

2.2. FESTIVAL DU VOYAGEUR 44 Temperatures in Winnipeg in February can vary greatly, from mild weather near zero degrees Celsius to the minus thirties; the Festival du Voyageur provides seven large heated tents, all with their own themes and attractions to keep visitors warm and entertained. In the Cabane à sucre (in English: Sugar Shack) visitors lineup to try la tire d’érable (in English: Maple Taffy) and watch maple syrup, poured on a bed of snow, freeze to a popsicle stick, to be consumed like a lollypop (Figure 2.17). This tent offers many daytime and nighttime bands and musical performances. The Pembina (or Pambian) Tent and La Prairie Tent are slightly smaller than the Cabane à sucre, and offer food and music, including a country music themed night in the Pembina Tent. In between the Pembina Tent and Fort Gibraltar is the Snow Bar, a tent with an outdoor plaza space where one can grab a drink and stand by a fire. Or one can enter the tent and try the traditional French Figure 2.18: Ice Glass Canadian wine beverage Caribou, served in ice shot glasses (Figure (@SamKat – Instagram) 2.18).

Figure 2.17: Making Maple Taffy Figure 2.19: Rivière-Rouge Tent (@DougMcArthur – Instagram) (Ruth Mehzenta – Instagram)

45 2.2. FESTIVAL DU VOYAGEUR The largest tent is the Rivière-Rouge tent, which holds three Louis Riel Day, a public holiday in Manitoba that lands on large spectator stands and many picnic tables facing an elevated the first Monday of Festival du Voyageur, marks a special day for stage (Figure 2.19). One can watch a live show in the Rivière- families to enjoy the winter activities that Winnipeg has to offer, Rouge Tent while enjoying traditional French-Canadian cuisine such while also providing an opportunity to commemorate Louis Riel – as tourtière, crêpes, or poutine. On the final Sunday evening, the which ideally positions the Festival du Voyageur to celebrate this closing ceremonies take place in this tent. day and offer extra entertainment. Festival-goers can weave a giant In the Souvenir Tent one can purchase traditional voyageur sash, or meet the Prairie Wildlife Rehabilitation Centre’s educational sashes, branded shirts, candy, music, furs, hand crafted clothes ambassadors: an arctic fox, a great grey owl and a barn owl. In and artisanal foods. Visitors can also stop by a kiosk in this tent 2015, 250 participants created the largest living Métis flag ever, hosted by the Société Historique de Saint-Boniface to see if they and in 2016 the Festival du Voyageur unveiled a Louis-Riel mosaic have any voyageur ancestors, or to simply take a photograph in created with photographs of many other Manitobans. front of a virtual voyageur setting in the green screen booth. On the Tuesday and Wednesday of the yearly festival, the The Portage Tent is used for a multitude of activities. Within Voyageur Park closes to the general public, as the park is home to the tent one can purchase high quality indigenous products from the Great-West Life School Program, where youth of all ages learn a Étchiboy, as well as food from local Winnipeg restaurant chain Stella’s multitude of things and take part in voyageur related activities such Café, while playing the traditional voyageur game Clouc Donc. Parks as: maple syrup production, snow shoeing, instruments of old, toys Canada has a photo-booth in this tent that allows festival-goers to of the era, crafts, nature walks, Métis women and their role in the fur be photographed in front of a national park or national historic site. trade, the people of the red river, folk dances, winter trading camp, The Portage Tent is the setting for kids’ activities during the days, canoes, finger weaving and snow sculpting. and themed nights in the evenings. Some themed nights include: Ten thousand people attend the festival on a busy day Singer-songwriter Night, Karaoke Night, Singles Night on Valentines (CBC 2012), and this can cause lineups to get into the tents, and Day, and Boardgame Night. The two Saturdays during the festival it is possible to wait up to 30 minutes to purchase a park pass in the Portage Tent are known as Market Days with a variety of during peak times. In the following sections I will look to the digital local vendors selling: handmade African beadwork, leatherwork, landscape narrative and see if wait times and lineups are discussed and woodwork, clothing, jewelry, Métis art, maple and birch syrup on social media. One can assume that with cold temperatures, products, knit map artwork, and local books in French, English and outdoor lineups to get indoors become challenging issues. However, aboriginal languages. much of the content on social media tends to be curated by the There are many other events that take place in the Festival users and is therefore generally positive. Park, such as the Mascot Challenge, or the live Radio broadcast by Envol 91.1. You can be an ice climber with the Saint-Boniface Section of the Alpine Club of Canada and climb the highest ice tower in North America, right next to the Festival Park. In 2016 the festival featured a photography exhibit on the walls of Fort Gibraltar titled Let Them Howl: 100 Years in the Women’s Rights Struggle, presented by the Canadian Museum for Human Rights, as Manitoba was the first province to legalize voting for women (Festival du Voyageur 2016).

2.2. FESTIVAL DU VOYAGEUR 46 The Festival on a Neighborhood Scale Four Bars & Eateries are Official Sites, including Club St-B, An issue of a well attended urban festival is limited parking. Le Garage Café, The Wood Tavern at the Norwood Hotel, and The The Festival du Voyageur does have a parking lot for visitors and the Marion Hotel and Marion Street Eatery where one can enjoy music, nearby neighborhood streets do provide parking as well. However food and the Voyageur Games such as leg wrestling, voyageur this still results in a lack of parking during peak times, therefore the wrestling, pillow fights, tug of war, and log sawing. You can also Festival du Voyageur offers extra parking at the Caisse Populaire enjoy the Trappers Feast while watching a live band at the French on Provencher Boulevard (Figure 2.20), and a park and ride shuttle Canadian bar in the restaurant on the Esplanade Riel – Mon Ami service from the Université de Saint-Boniface and Centre La Louis. In 2016 the Festival du Voyageur introduced a new Official Vérendrye that arrives every 20 minutes on evenings and weekends. Site, the Wise Wolf Trading Post at the Heather Curling Club Lounge, The Festival Park is also accessible by Winnipeg Transit, specifically which celebrates the Festival du Voyageur by commemorating by bus routes 10 and 56. the aforementioned bar Le Canot from the eighties and nineties. The Festival du Voyageur is not limited to the Festival Park In 2015, the Club Regent Casino, in the Transcona neighborhood as there are many reasons to attend the festival off-site at one of (Figure 2.1), was an Official Site; the Club Regent Casino was not a the Official Venues, or perhaps you will find yourself celebrating at Festival du Voyageur venue in 2016. an unofficial venue that is embracing the Festival du Voyageur spirit. The Rendez-vous on Ice is located on the Red River Mutual In 2016 the Festival du Voyageur had 10 Official Sites outside of the Trail at the Forks. This is the only other major outdoor area that Voyageur Park (Figure 2.21). The Voyageur Trading Post (Centre makes up the Festival du Voyageur other than the Voyageur Park. Culturel Franco-Manitobain) is key location for a variety of festival The Rendez-vous on Ice was the location of Family Day on Louis related activities, such as the Beard Growing Contest, Cajun Night Riel Day which features music, games, hot chocolate, tug of war, fish featuring Louisiana music, jigging and fiddling contests, community tossing, burling, and the Wild Winter Canoe Demonstration Race, lunches, and the unveiling of the Official Voyageurs. In 2016, the where canoes are pushed over the snow and ice. The Rendez-vous Voyageur Trading Post also hosted a sold-out concert by Quebecois on Ice also has an outdoor bar. One morning during the Festival musician Coeur de Pirate. du Voyageur, Breakfast on Ice is offered at the Rendez-vous on L’Auberge du Violon – The Saint-Boniface Cathedral Ice, where commuters are invited to skate, ski, or bike to work. Parish, hosts a opening mass and a closing mass for the Festival On Valentine’s Day, Fashion on Ice takes place at the Rendez-vous du Voyageur as well as evening musical performances throughout on Ice, a Voyageur inspired fashion show displaying clothing and the ten days of the festival. The Pioneers Trading Post is situated in accessories of ten local designers and retailers. another place of worship, the Saints-Martyrs-Canadian Hall, located outside of old Saint-Boniface, in the residential neighborhood of Windsor Park, which is considered part of greater Saint-Boniface (Figure 2.1), where one can have a pancake breakfast or take in dinner and a concert.

47 2.2. FESTIVAL DU VOYAGEUR It is important to note that there are official Festival du Voyageur activities that occur outside of Official Sites, when venues host an event only once or twice during the ten days of the festival. In 2016 a contemporary dance performance was hosted at the Rachel Browne Theatre, in the Crocus Building, in the Exchange neighborhood, part of Downtown Winnipeg. This is the only official Festival du Voyageur activity to take place outside of greater Saint- Boniface or the Forks. On Louis Riel Day, two venues provided Festival du Voyageur related activities, the Canadian Museum for Human Rights, and the Saint-Boniface Museum where one could learn about Louis-Riel’s life, enjoy a campfire and interactive activities. On the Wednesday night, while the Voyageur Park was closed to the general public, the Festival du Voyageur themed D-Jig Night took place in the Université de Saint-Boniface Gymnasium. On the last weekend of the festival, Rame à la rencontre, an event filled with francophone musical performances, was located at the Maison des artistes visuels francophones. On top of the wide array of activities and locations that make up the Festival du Voyageur, the MMMFestival also makes up part of the Festival du Voyageur, in which restaurants, cafes and bakeries in Saint-Boniface are invited to offer Festival du Voyageur inspired food or drink options. The participants in the MMMFestival are: Pasqualies Italian Restaurant, the Norwood Hotel, Deen’s Caribbean Restaurant, Cocoabeans Bakeshop, Chaise Café and Lounge, Chocolatier Constance Popp, Promenade Café and Wine.

2.2. FESTIVAL DU VOYAGEUR 48 Legend

Parking

1 Whittier Park

Université de 1 2 Saint-Boniface

3 Centre La Vérendrye

4 Caisse Populaire

Red River Public Transportation

4 Shuttle Route

3 Bus Route 10

Bus Route 56

2

Assiniboine River N 500 m

Figure 2.20: Transportation Map

49 2.2. FESTIVAL DU VOYAGEUR Legend Official Sites 1 Voyageur Park 2 Ice Climbing Structure 1 3 1 2 Festival Office

4 Centre Culturel Franco-Manitobain Torch Light Walk 5 Club St.B 6 Garage Café 7 Norwood Hotel 8 Marion Hotel Red River 4 5 9 Saint Boniface Cathedral 5 3 4 10 Mon Ami Louis 11 Rendez-vous on Ice 12 5 6 Heather Curling Club 6 7 Secondary Sites 10 1 9 Rachel Browne Theatre 3 2 Musée de St. Boniface

3 Université de 2 Saint Boniface

4 Maison des Artistes Visuels Francophones 11 5 Canadian Museum for Human Rights Assiniboine River MMMFestival 1 Pasqualies 8 2 Norwood Hotel 1 3 3 Deen’s Caribean 4 Cocoabeans Bakeshop 7 2 5 4 Chaise Lounge 12 6 Constance Pop 7 Promenade Bistro Figure 2.21: Affiliated Festival Sites

2.2. FESTIVAL DU VOYAGEUR 50 2.3. INTERVIEW WITH THE FESTIVAL DU VOYAGEUR Mostly the festival planning process works off of institutional “The rivers and the Centre Culturel Franco-Manitobain knowledge, according to Mr. Desaulnier (2016). In 2009 they worked are very important to our planning.” with a consultant to engage with the community for strategic (Festival du Voyageur Interview 2016) planning purposes. The Festival du Voyageur does not work with outside landscape architects or planners in their process, but they On March 24, 2016 I conducted an interview with members do however work with outside consultants and companies. They of the Festival du Voyageur’s planning and marketing team to better currently work with branding and marketing firm Relish Design. understand the planning process of the festival, and their role and Together, Relish Design and the festival staff develop a new theme, engagement with social media platforms (Festival du Voyageur tagline and look for the festival every year. In 2016 the tagline was: Interview 2016). The interview included the following members: “Be Voyageur”. All of the snow sculpting work is coordinated and Ginette Lavack Walters – General Director; Lisa Woods – Director created by Franco-Manitoban artist David McNair. As the festival of Development and Tourism; Dominique Tétrault – Director is growing and off-site venues are established to handle the large of Marketing and Communication; Julien Desaulnier – Artistic number of attendees, the organization may outsource the operation Producer; and Sophie Dumontier – Graphic Designer. of certain sites – in 2016 Ugly Duckling Productions ran the Rendez- vous on Ice on the Red River Mutual Trail. In considering their future planning, growth management Planning the Festival du Voyageur The planning of the Festival du Voyageur is an ongoing is an issue that they constantly tackle. To handle this, they use process that happens all year-round. In fact they had already begun an incremental approach to growth. Such an approach allows for planning the 2017 festival before the 2016 festival had begun. The changes and growth to be addressed systematically and with critical month following each festival, the team does post-mortem work and thought. In this way, they are constantly evolving as a festival. Where analysis, including compiling the participant survey, and preparing summer festivals can build a network and share best practices, a the annual report for the month of April. They ask themselves winter festival in a harsh climate doesn’t have many precedents to during this: time what are the challenges that they faced during the base decisions off of, expressed Mr. Desaulnier. previous year? When it comes to developing relationships with other In considering long term planning, the members see a organizations and other companies they say their process is open three-year plan as being realistic, while a twenty-year plan would and they strive to create connections. Mrs. Lavack Walters says: contain too many variables. In June 2015, they developed a new “It’s a two-way street”; sometimes they reach out to others and strategic plan for the next three to five years. However this is not a sometimes others come to them – for example the MMMFestival static document, and provides the flexibility to address new issues was developed by the Norwood Grove BIZ and the Provencher Blvd and ideas. This document contains four strategic acts: 1. Provide a BIZ. These two organizations approached the Festival du Voyageur product of excellent quality. 2. To be a partner in the development to use their brand for the MMMFestival. Chef Luc Jean from the and vitality of the French language in Manitoba. 3. Preserve the restaurant Mon Ami Louis approached the Festival du Voyageur stability of the corporation. 4. Develop activities and year-round to become an official venue, and they worked together to develop products that support the continued evolution of the corporation to some programming that would provide an experience that reflects adapt to external trends. the festival, over and above the existing restaurant experience. Another example of an outside organization coming to them is when

51 2.3. INTERVIEW WITH THE FESTIVAL DU VOYAGEUR the Canadian Museum for Human Rights approached the Festival The Festival du Voyageur conducts a survey for visitors du Voyageur searching for a space to display the Let Them Howl: every year, which is published in their annual report (Festival du 100 Years in the Women’s Rights Struggle exhibit. Voyageur Annual Report 2014-2015). Although their clientele is The Festival du Voyageur says that organizations in the approximately 60% Anglophone, they continue to offer a French City of Winnipeg are good at working together; and that they, the product. Mrs. Lavack Walters says that many of the Francophones Festival du Voyageur organization, participate in the Chamber of are die-hards and they will come every year (Festival du Voyageur Commerce, tourism groups, and trade shows to build strong Interview 2016). “These people have expectations,” she explained. relationships. They aim to support the local economy and help We can begin to understand why the festival is so similar from year to support smaller organizations; which means that they do focus year, as to please its core user base; and we can see why changes much of their attention and growth on the neighborhood of Saint are incremental, as to provide such a consistent and expected Boniface. Working in partnership with the Winnipeg Folk Festival, experience. Changes, as I understand, are a result of improving the the Festival du Voyageur was able to bring in popular musical act experience for a growing number of festival-goers and the issues Coeur de Pirate; Mr. Desaulnier says that although a larger venue and opportunities that arise from such a situation, and are not due would have accommodated the high demand for this show, they to a need for varying the experience from year to year. maintained that the show should take place in Saint Boniface. This The Festival du Voyageur explained that their target markets is not to say that they are not open to expanding to other parts of are families and young professionals, and that the Voyageur Park the city, but that they do try to bring people into the neighborhood of transforms throughout the day – from families during light hours Saint Boniface. An example of expanding beyond the neighborhood to young professionals in the evening and night. In the following was two weeks prior to the festival when two promotional kiosks sections revolving around the festival’s digital landscape narrative, I were set up at Assiniboine Park (Figure 2.1). By expanding their will explore how this change in clientele is visible via social media. reach with other organizations they attempt to keep their profile up year-round, which they also do with a summer concert series titled Mercredi en Musique. A concern brought up by Mrs. Lavack Walters is that they do not want to lose control of their brand and allow anyone to use it. They are happy to see businesses use the festival in promotional ways, such as the coffee shop in Osborne Village, Little Sister Coffee Maker, which offered a Festival du Voyageur themed beverage during the ten days of the festival. Where the use of their brand is not seen a positive or complimentary, they would ask that organization to halt their associated activities. In this case the landscape and geography of the festival play into it’s branding – where and how their brand is used impacts the social landscape of the festival. One can only assume that having a Festival du Voyageur themed beverage in Osborne Village is likely to entice some citizens of Winnipeg to venture into Saint Boniface.

2.3. INTERVIEW WITH THE FESTIVAL DU VOYAGEUR 52 The Festival du Voyageur and Social Media The festival staff are actively engaged with the public The Festival du Voyageur formally runs and manages five on Facebook and Twitter. While their office hours are limited to a social media accounts via Facebook, Twitter, Instagram, YouTube, standard workweek, they generally provide a five-minute response and Pinterest. They use these accounts to promote the festival, time on Facebook and Twitter during reasonable times, including provide information to festival-goers, share stories and other media until midnight or later during the ten days of the festival. They want content, and engage with the public. The Festival du Voyageur their customers to feel valued (2016). This past year they were able to organization uses the hashtag #HeHo; and if you have ever attended address an issue with their shuttle service, which they had become the festival you would understand why – it is a common cheer that aware of due to social media. They say that Twitter activity about can be heard repeatedly by the many die-hard festival-goers, and the festival is mostly positive except for a few complaints about long by performers and stage announcers. One would likely hear this lines and shuttle issues (2016). Knowing this, I deliberately searched cheer simply by being in North Saint Boniface during an evening of for this type of data through social media, the results of which are the Festival du Voyageur. According to the festival staff, #HeHo is detailed in the ensuing sections. The staff explained that negative synonymous with the Festival du Voyageur and it’s also part of their comments are usually expressed in a private message and are not branding – it’s bilingual and accessible (2016); and it also mirrors shared publically. their website marketing, where the site festivalvoyageur.mb.ca is promoted via hyperlink from HeHo.ca. I chose to base much of my research in this project on the hashtag #FestivalDuVoyageur, which provided me with a very focused data set. But the staff members believe that for their purposes #FestivalDuVoyageur is too complicated, as the French language does not work for everyone (2016). A couple of quick searches on Instagram will provide a clear picture that #FestivalDuVoyageur is essentially strictly about the festival itself, whereas #HeHo is used by people all around the world for many purposes. This is likely a benefit for their choice of branded hashtag, as it provides a window into the Festival du Voyageur for people who may not be familiar with it. In the following sections about metadata, I will explain why #FestivalDuVoyageur is a better fit for mapping the digital landscape narratives of the Festival du Voyageur.

53 2.3. INTERVIEW WITH THE FESTIVAL DU VOYAGEUR 2.4. SOCIAL MEDIA PLATFORM ANALYSIS – CENTRAL DATA I conducted the social media platform analysis relating to in constructing digital landscape narratives; a significant increase in the Festival du Voyageur between December 15, 2015, prior to ‘likes’ can signify a trend, such as a boost in popularity, whereas an the 2016 festival, and April 15, 2016, some time after the 2016 increase in ‘check-ins’ could signify an increase in attendance to a festival. The intention behind this analysis is twofold: to gain an specific landscape, as one must be in proximity of the landscape in understanding of the Festival du Voyageur from a centralized data question to ‘check-in’. The increase in ‘check-ins’ also likely points perspective, including how one might use centralized data from to an increase in social media use while attending the Festival du ‘official accounts’ in mapping digital landscape narratives; and to Voyageur, specifically engaging with Facebook and the Festival du develop an understanding of the festival for comparative measures, Voyageur Facebook page while in attendance. While ‘likes’ and where we can compare the centralized data of ‘official accounts’ to ‘check-ins’ do provide some insight into the landscape event, the democratically created social (or network) data by multiple users. numbers clearly do not represent the actual attendance of the We can therefore determine the reliability and accuracy of social Festival du Voyageur from year to year, which topped 100,000 visits data, especially for situations where a landscape is not represented in 2016; nor can this data provide real-time information, as one can by a central agency. only ‘like’ a Facebook page once, and multiple ‘check-ins’ by a single user do not increase the number of total ‘check-ins’, making this data cumulative from the point when the feature was offered or Facebook Page Analysis To begin I looked at the Festival du Voyageur Facebook from when the page was created. page that is run by the festival organization, meaning that much of When working with a central organization in mapping the data derived from the account is centrally created or curated. digital landscape narratives, a Facebook page can provide a As of December 15, 2015, the page had 7,958 ‘likes’, meaning that plethora of data, which is of course curated by the organization Facebook users selected to ‘like’ the Facebook page by clicking as it can remove any unsuitable posts from its page. Most of the on a ‘like’ button. By April 15, 2016, the number of ‘likes’ on the content on the Festival du Voyageur Facebook page has been page had increased to 9,779. As of December 15, 2015, 4,724 shared by the organization itself, likely as a form of marketing and people had claimed to have attended the festival via a process providing information to its followers. Facebook allows one to see termed ‘checking-in’, where a Facebook page can offer users the photographs posted by others; in this case 351 users had posted option to ‘check-in’ to a nearby place or establishment. This is not photographs to the Facebook page. This in itself can be extremely offered by all establishments, only those that opt-in to this feature. insightful, and by taking an overview perspective of the entirety of The number of people who had ‘checked-in’ to the Festival du the photographs, one can begin to develop overall themes and Voyageur had increased to 8,079 people by April 15, 2016. The aesthetics for the festival. One can then proceed to select individual number of people who ‘checked-in’ nearly doubled in four months- photographs, which provide even more information, such as: who time with a 71% increase (3,355 new ‘check-ins’), while the number posted it, who they were with, where they took the photograph, the of ‘likes’ only increased by 22% (1,822 new ‘likes’). These numbers time they posted it, the number of ‘likes’, and comments by other are likely due to the fact that the ‘like’ button has been a feature for users. For example, by looking into a photograph of a young man several years, whereas the process of ‘checking-in’ is newer and adorned with face paint and wearing high fashion winter wear, we requires time for users to become familiar with the tool. This does can learn that this event, Fashion On Ice, took place at The Forks, however provide some insight into the use of both of these features where the Rendez-vous On Ice (Official Site) was located. We can also see who this gentleman is, as he was tagged in the photograph,

2.4. SOCIAL MEDIA PLATFORM ANALYSIS – CENTRAL DATA 54 and we can see which companies provided the clothing that he is In considering centralized data, we can also look at the wearing, as each piece of clothing is tagged to the specific supplier Festival du Voyageur Facebook page Timeline, which is generally or designer. One issue that does arise is that this photograph was the first thing one sees on the Facebook page. The Timeline is a shared on February 25, 2016, but we know from the programming public display in reverse chronological order of all content posted to schedule of the festival that this event took place on the afternoon the page, such as a text post, a group of photographs, or links to of February 14, 2016. It is important to note that the date of sharing articles and other online content – where the newest post appears something on social media does not necessarily reflect the time that at the top and one can scroll down to older posts. One can see on the photograph was taken, or when the original data was created. this Timeline that the use of social media has increased every year Mapping digital landscape narratives will not likely be a replacement since 2009, and one can only assume this trend will continue. for the minutiae of detail when it comes to time and place, as the Number of posts to the Festival du Voyageur Facebook data may be inconsistent with reality. For our purposes, the location Page by year: is accurate but the date is wrong, suggesting that social media data 2009 – 17 posts will likely provide a larger picture of events and multiple points of 2010 – 56 posts view, rather than specific details of programming. Where mapping 2011 – 58 posts digital landscape narratives is to be used for non-programmed and 2012 – 103 posts non-event based landscapes, this type of data can still be very useful 2013 – 131 posts and the accuracy of the date will not likely affect its application. 2014 – 163 posts The Festival du Voyageur Facebook page also includes an 2015 – 175 posts abundant amount of photographs that the festival staff have posted themselves. These photographs can be sorted and viewed in a couple of ways. The first way to view the photographs is divided by year. An overview of the photographs is presented with large thumbnails of each photograph, and one can see that in the year 2015, 378 photographs were posted. By April 15, 2016, 148 new photographs had been posted since January 1st, 2016. This allows designers to sort data by year, which can be very useful if one is looking for data surrounding a specific event. One can imagine for example how a one-time flood or a political protest could seriously affect a landscape for a short period of time. The second way that these photographs can be sorted is by albums that have been created by the organization. Not all of the photographs posted by the Festival du Voyageur are part of an album, but many of them are. For example, some albums are titled and related to specific performances or individual events, and other albums are related to the festival by year with titles such as: Festival du Voyageur 2014 (containing 47 photographs) or Festival du Voyageur 2010 (containing 38 photographs).

55 2.4. SOCIAL MEDIA PLATFORM ANALYSIS – CENTRAL DATA Instagram Account Analysis Twitter Account Analysis I analyzed the official Instagram account of the Festival du On December 18, 2015 I analyzed the Festival du Voyageur, @FDVoyageur, which had 380 posts, 3,201 followers, and Voyageur’s Twitter account – @FDVoyageur. At this time, the Festival was following 964 other Instagram users, on December 18, 2015. du Voyageur had Tweeted 2,704 times. They had 8,333 followers On April 15, 2016 the account had 441 posts, 4,951 followers, an and were following 2,432 other accounts. By April 17, 2016, the increase of 54% or 1,750 new followers in just less than four months. account had a tweet count of 3,177. They had 9,702 followers In the same amount of time the number of users that @FDVoyageur and were following 2,481 Twitter users. Once again, this central was following rose to 1,027, an increase of 6.5% or 63 new users. data set is mostly created and curated by the Festival du Voyageur This displays that the rise in followers is not correlated with the organization. Their tweets are made up of photographs, videos, number of accounts that the Festival du Voyageur is following, but and links to blogs, articles, their website, and other online related with an increase in popularity of the event and an increase of users content. One can choose to search through their media content on Instagram. only, limiting data to photographs and videos. Again this data is very The photographs and videos on the official Instagram similar to the photographs and videos found on their Facebook and account make up part of the centralized data set. This content is very Instagram account. similar and often identical to the centralized content on the Festival When a landscape event, such as the Festival du Voyageur, du Voyageur Facebook Page. In the same way as the centralized or when a physical landscape such as The Forks for example, is Facebook data, an overview of these images provides an excellent associated or programmed by a central agency, studying their overview of the experience one would have while attending the social media activity and content can provide significant insight into Festival du Voyageur. Themes and subject matter such as purple an event or place. This provides a broader view than one could and pink colorful lights, snow sculptures, historical interpretation, likely acquire by visiting the site on multiple occasions. When an and maple taffy on stick are quickly identifiable. organization shares something via social media, this accords that subject meaning, and one can assume that they are likely sharing information that has value to their viewers. Landscape architects can therefore look back in time, where social media provides a window into specific past events and phenomena.

2.4. SOCIAL MEDIA PLATFORM ANALYSIS – CENTRAL DATA 56 2.5. SOCIAL NETWORK DATA ANALYSIS When I began to research the potential of social network one group would be made up of performing artists, or journalists, or data in mapping digital landscape narratives, I was very hopeful photographers, or perhaps groups would be clustered by language, that this data would be mostly accessible and would provide great culture, or age range. This type of information would be very useful insight into the social network of the Festival du Voyageur. However, in deciding with whom a landscape architect should consult. One changes to privacy policy and limitations on data accessibility created could even identify people who are central to a group, by the impasses that hindered the potential of this type of information. When number of connections that they would have within that cluster. Or I started this research in 2014 I was able to download entire social one could identify which people are connecting agents in between networks surrounding individual Facebook users with NetVizz, an crowds. application available within the Facebook platform. Using network visualization software Gephi (Bastian, Heymann & Jacomy 2009), Facebook Page ‘Like’ Network I was able to visualize this data, where individual Facebook users The process of visualizing the festival’s network proved were represented by nodes and their connections, such as if they more troubling than I had originally hoped. For one, the Festival were mutual Facebook ‘friends’, they were connected by edges du Voyageur Facebook Page, is not a user account, such as an (lines). The software positions the nodes within the network based individual person would have. Although it looks very similar from a on their number of connections with others. In considering my own user experience, a Facebook Page and an account are essentially Facebook network, the nodes formed various clusters, such as my different. The current software does not allow one to download the extended family, or my fiancée’s extended family, who were both social network surrounding a Facebook Page. It does however connected by a couple of members who knew each other. Another allow one to download the Facebook Page ‘Like’ Network, which cluster was made of many Franco-Manitobans, most of whom were is a network of Facebook Pages that ‘like’ or are ‘liked’ by the people that I had grown up with and are many of my close friends Festival du Voyageur Facebook Page. I downloaded the Festival and acquaintances. Another cluster was made up of people that I du Voyageur Facebook ‘Like’ Network on January 5, 2015 had met while in University – many of these people had attended and I was able to visualize the network. In Festival du Voyageur the University of Manitoba’s Faculty of Architecture. This provided Facebook ‘Like’ Network – Categories (Figure 2.22) we can see an understanding of my social network that I had never seen from how this network is structured. The colors on the map represent a network visualization perspective before. I was able to see where the category of the organization, for example the largest category at individual people fit within my social groups, which people knew 32.5% is made up of Non-Profit Organizations, followed by Media/ one another, and which people were friends with people across News/Publishing at 12.5%, Attractions/Things to Do at 7.5%, and my network connecting people from one crowd to another. Using so on. The structure of the network is very telling of the organization Gephi, I could choose to leave the usernames or remove them for based social network surrounding the Festival du Voyageur – the anonymity. By clicking on a node I could be linked directly to their festival’s Facebook Page is positioned in the middle of the network. Facebook page, where I could quickly learn more about who they On the left side of the network we find organizations that are mostly are. connected to the Festival du Voyageur but primarily not to others I hoped that if I could access such data relating to the within the network; here the network appears to take shape as a Festival du Voyageur, I could begin to understand what the social Brand Cluster. On the right side of the network we can see a large network surrounding the festival looked like. What if one could cluster of organizations that are interconnected in many ways. This identify the binding factors within various social groups? Perhaps

57 2.5. SOCIAL NETWORK DATA ANALYSIS cluster can also be separated into two groups. The first group, the Heart and Stroke Foundation, all pan-Canadian organizations, at the top right of the network, is mostly related to Winnipeg or whereas the rest of the organizations have similar levels in popularity Manitoba, with exceptions such as Rick Mercer Report, a popular in relation to the big three. This type of information is not only useful Canadian television show, and The Heart and Stroke Foundation, to landscape architecture, but plays into the marketing of the both of which are likely connected to organizations across Canada. Festival du Voyageur. The second group, on the bottom right of the network is mostly The Festival du Voyageur Facebook ‘Like’ Network – made up of Francophone or Franco-Manitoban organizations; here Categories (Figure 2.22) is a relational map that locates organizations the network appears to take shape as Community Clusters. within relational space rather than physical space. Festival du The Festival du Voyageur often works in collaboration with Voyageur Facebook ‘Like’ Network – Locations (Figure 2.25) other groups and organizations, as mentioned earlier. The Facebook displays this network within the geographical and physical world. Page ‘Like’ Network provides insight into how sympathetic On a neighborhood scale we can now compare this map to Festival organizations are interconnected, and divided into clusters and Sites Map (Figure 2.21). We can see in the Festival Sites Map that groups. Using this knowledge, landscape architects could likely most of the venues and sites relating to the Festival du Voyageur are better plan activities in collaboration with other organizations in located in Saint Boniface. In Figure 2.25 we can see that not only is many ways. This data could aid them in navigating the network, but the Festival du Voyageur Facebook ‘Like’ Network situated in Saint it could also identify central organizations to the network that could Boniface, but many organizations are also located in The Exchange play a key role in engaging other organizations. or Downtown Neighborhoods. As the Festival du Voyageur grows Gephi also allows one to adjust visualization settings to in size and in number of attendees, the planning staff may consider highlight different aspects of the network. Festival du Voyageur expanding out of Saint Boniface, and into The Exchange, as there Facebook ‘Like’ Network – Centrality (Figure 2.23) displays the is the possibility of local support from outside organizations. network in a similar fashion as Figure 2.22 but it is important to note that the process of visualizing networks is dynamic, and the software does not create an identical image every time, but simply a similar one. In this case we can see how the network rotated 90° counter clockwise, but the identified clusters and groups are still recognizable. In this network map, the shade of green of the nodes represents the centrality of the organization within the network, where the darker nodes are more central. We can see which organizations have the most connections to other organizations. This process provides a useful tool in identifying key stakeholder organizations that can connect with others within the network. Festival du Voyageur Facebook ‘Like’ Network – Popularity (Figure 2.24) displays the same Facebook Page ‘Like’ Network, but the shades of red represent which pages are the most popular within the network. Popularity is determined by the number of ‘likes’ each page has by individual Facebook users. We can see that the three most popular pages are Air Canada, Rick Mercer Report, and

2.5. SOCIAL NETWORK DATA ANALYSIS 58 Categories Metro Winnipeg

The Forks Non-Profit Organization 32.5% The Bros. Landreth The Manitoba Museum Red River Ex Manitoba Music Media/News/Publishing 12.5% Visit Winnipeg QX 104 Attractions/Things to Do 7.5% Manitoba Liquor & Lotteries Impact Team Heart and Stroke Foundation CBC Manitoba Musician/Band 7.5%

Winnipeg Free Press Food/Beverages 5% Morden Corn & Apple Festival Rick Mercer Report Travel/Leisure 5%

MolsonMolson Coors Coors Manitoba Organization 5% Le Bal à l Huile Musee St. Joseph Museum Telecommunication 2.5% mmmfestival Winnipeg Festival du Voyageur TV Show 2.5% Joie de Vivre Manitoba Provencher BIZ ThunderTix Radio Station 2.5% Centre Culturel Franco-Manitobain ManitobaManitoba Craft Council Facial Hair Club ICI Manitoba Arts/Entertainment 2.5% Musée de St Pierre Jolys Museum Aspire Fitness MTS Locat Business 2.5%

The Lance Les chercheurs d or Théâtre Vice Versa Theatre La Liberté University 2.5%

French for Life TV Channel 2.5%

FrancoFête en Acadie Software 2.5% Université de Saint-Boniface CJP (Conseil Jeunesse Provincial) Government Organization 2.5%

Air Canada Unis Sports/Recreation 2.5%

Connections = ‘Likes’

Figure 2.22: Festival du Voyageur ‘Like’ Network - Categories

59 2.5. SOCIAL NETWORK DATA ANALYSIS Heart and Stroke Foundation

Manitoba Liquor & Lotteries Impact Team The Manitoba Museum

ICI Manitoba Winnipeg Free Press Musee St. Joseph Museum Université de Saint-Boniface Metro Winnipeg Visit Winnipeg

French for Life Joie de Vivre Manitoba Rick Mercer Report The Forks CBC Manitoba Musée de St Pierre Jolys Museum CJP (Conseil Jeunesse Provincial) Connections = ‘Likes’ Shade represents Centrality La Liberté Centre Culturel Franco-Manitobain Manitoba Music

Unis The Bros. Landreth Théâtre Vice Versa Theatre Morden Corn & Apple Festival Festival du Voyageur Red River Ex

The Lance Air Canada QX 104

ThunderTix FrancoFête enLes Acadie chercheurs d or Aspire Fitness Le Bal à l Huile Provencher BIZ Manitoba Craftmmmfestival Council Winnipeg Manitoba Facial Hair Club MTS Molson Coors Manitoba

Molson Coors

Figure 2.23: Festival du Voyageur Facebook ‘Like’ Network - Centrality

2.5. SOCIAL NETWORK DATA ANALYSIS 60 Heart and Stroke Foundation

Manitoba Liquor & Lotteries Impact Team The Manitoba Museum

ICI Manitoba Winnipeg Free Press Musee St. Joseph Museum Université de Saint-Boniface Metro Winnipeg Visit Winnipeg

French for Life Joie de Vivre Manitoba Rick Mercer Report The Forks CBC Manitoba Musée de St Pierre Jolys Museum CJP (Conseil Jeunesse Provincial) Connections = ‘Likes’ Shade represents Popularity La Liberté Centre Culturel Franco-Manitobain Manitoba Music

Unis The Bros. Landreth Théâtre Vice Versa Theatre Morden Corn & Apple Festival Festival du Voyageur Red River Ex

The Lance Air Canada QX 104

ThunderTix FrancoFête enLes Acadie chercheurs d or Aspire Fitness Le Bal à l Huile Provencher BIZ Manitoba Craftmmmfestival Council Winnipeg Manitoba Facial Hair Club MTS Molson Coors Manitoba

Molson Coors

Figure 2.24: Festival du Voyageur Facebook ‘Like’ Network - Popularity

61 2.5. SOCIAL NETWORK DATA ANALYSIS Legend

1 Voyageur Park 5 2 Festival Office 1 3 Manitoba Music 4 4 14 Manitoba Craft Council 3 7 5 Manitoba Museum 13 8 Université de 6 Red River Saint-Boniface 2 13 Manitoba Parents 7 for French

9 8 Metro Winnipeg

9 Radio-Canada (ICI Manitoba) 6 10 10 The Forks 15 Heart And Stroke 11 Foundation of Manitoba

Assiniboine River Centre Culturel 12 Franco-Manitobain

13 Tourism Winnipeg

11 14 QX104

15 La Liberté

N 500 m Figure 2.25: Festival du Voyageur Facebook ‘Like’ Network - Locations

2.5. SOCIAL NETWORK DATA ANALYSIS 62 Facebook Page Post Network not following or engaged with the Festival du Voyageur Facebook Another source of network visualization in relation to Page, meaning that they would see the post only because they are mapping digital landscape narratives is the Festival du Voyageur friends with the user who posted the content. Facebook Page Post Network (Figure 2.26). This network displays Figure 2.27 has applicability to landscape architects as Facebook posts by the Festival du Voyageur on its own page one could investigate the outlying posts to see if the subject matter during the month of February 2015. Green nodes represent the of the content differentiated from the more central content. This posts, and their size represents the number of ‘likes’ that each post could have implications for the festival in considering outreach. This received. The small red nodes represent individual Facebook users. network map also displays the power of a decentralized narrative to The edges in between users and posts represent ‘likes’. When a reach large groups of people via social media. Each post contributes line connects a red dot to a green dot, that means that the user to the digital landscape narrative of the Festival du Voyageur, and ‘liked’ that post. What this network map shows us is that there is a engages new groups of people. core of Facebook users who are highly involved and encouraging of the festivals activities, as these users have ‘liked’ multiple posts Twitter Network Data Impasse by the festival organization. In considering the Archetypal Network It is possible to download the necessary data to visualize Structures established by Smith et. al. (2014), the core of users the social network surrounding the Festival du Voyageur Twitter may be a Tight Crowd, most likely the die-hard Francophone account with the Microsoft Excel Plug-in NodeXL (Smith et al. festival-goers mentioned in the interview. We can also see that 2010). However, in recent years, Twitter has placed limits on the the larger nodes, while being highly ‘liked’ by the central core of quantity of data that one can download in a specific amount of users, gained their popularity through an increase in ‘likes’ by users time, due to the large amount of requests for data. Once the data who only ‘liked’ that one post. This type of information can play limit is met, the downloading process pauses for fifteen minutes. into the marketing and planning of the festival. By looking into the The estimated amount of data required to visualize the festival’s popular posts, we can see which events or attractions engage a social network would have required a minimum of ten uninterrupted wider audience. One could also use this to ensure that the central days to download. While creating such a map of the festival would core of users is satisfied, by exploring what posts and activities are have been very insightful, the process is too taxing on one’s time to engaging to them and not periphery users. provide practical value to a landscape architect. Festival du Voyageur Facebook User Post Network (Figure 2.27) is also a network visualization of the Festival du Voyageur Facebook Page Post Network during the month of February 2015, however this map allows for posts by others to the festival’s page, rather than just the festival itself. We can see, now reduced in scale, the previous network at the bottom of the map, with its Tight Crowd and periphery users. Above this original cluster are scattered nodes, which represent the posts by others. We can see that these posts are not strongly connected to the central core of users. These outlying nodes do however receive large numbers of ‘likes’ by users who show no other activity in the network. The one-time ‘likes’ of outlying posts are likely the result of the users having friends who are

63 2.5. SOCIAL NETWORK DATA ANALYSIS Connections = ‘Likes’ Size = Popularity

Users

Posts

Figure 2.26: Festival du Voyageur Facebook Page Post Network

2.5. SOCIAL NETWORK DATA ANALYSIS 64 Connections = ‘Likes’ Size = Popularity

Users 95.5%

Photo 2.43%

Link 1.24%

Status 0.54%

Video 0.27%

Figure 2.27: Festival du Voyageur Facebook User Post Network

65 2.5. SOCIAL NETWORK DATA ANALYSIS 2.6. METADATA ANALYSIS In the following two sections, Metadata Analysis, Original the research data. While this type of research is entirely possible Data Analysis, I will proceed by investigating and exploring the ways with Facebook, creating a second account or an account under a in which social media can be used in mapping digital landscape pseudonym is a breach of Facebook’s user policy. In practice, when narratives. I will provide an analysis of the metadata surrounding mapping digital landscape narratives, a landscape architect would the Festival du Voyageur on Facebook, Instagram and Twitter. We not be required to follow the JFREB privacy policy, especially for can begin to understand the value of a grassroots folksonomy in internal uses, allowing for a simpler process, as data from trusted relation to landscape architecture, and how one would use such private accounts would only provide more insight into a landscape, information to filter social media data. I will also provide an analysis rather than less. of the original data on Instagram and Twitter. We will be able to see The following operations revolve around the requirement to the ways in which the two platforms vary in user base, content, identify and filter photographs and data to focus the researcher’s and applicability to landscape architecture. Within this analysis of efforts and direct a narrative that is strongly representative of the the original data I mapped the digital landscape narratives of the Festival du Voyageur. This begins with an analysis of metadata, Festival du Voyageur. This will allow us to see what mapping digital specifically hashtags and geo-locations. This is followed byan landscape narratives can look like, what information is similar or analysis of the original data, the photographs and content – the identical to the centralized information one would typically use experiential information that make up the digital landscape narrative. in the design and planning process, and what information and opportunities that arise which are not present in a traditional Hashtag Analysis landscape architecture site analysis and consultation process. I began the metadata analysis by exploring the Festival This will lead to a better understanding of whether mapping digital du Voyageur Instagram account. An authoritative organization that landscape narratives is a stand alone process that can replace represents a landscape or landscape event, such as the festival traditional place based community consultation and site analysis, organization, can have a significant impact on the folksonomy or whether mapping digital landscape narratives provides a new surrounding said landscape. Where no central organization is using complimentary data set that enhances the knowledge of a site for and promoting a related hashtag, the terminology is likely derived the landscape architects involved. in a grassroots fashion, and heavily influenced by the naming of The following sections are focused on Instagram and Twitter places. as I was able to create an Instagram account – @UofMResearch, In this situation the Festival du Voyageur used the hashtag and a Twitter account - @UofMResearch to perform the ensuing #HeHo the most often – on 79 of their 193 Instagram posts in 2015, operations. In following the University of Manitoba’s Joint Faculty or 41% of the time. This is logical, as previously mentioned, #HeHo Research Ethics Board’s (JFREB) approach to privacy, these two is a bilingually accessible term that is synonymous with the festival, new accounts were created to ensure that all data that I had access and is a significant feature of their branding and marketing. In this to was publicly accessible – neither account was following any other situation #HeHo is the result of the Festival du Voyageur adopting users. If I had used my own personal account, it would have been terminology that appeared democratically. It is important to note possible for the information from private accounts of users that had that in 2014, the 45th anniversary of the festival, the organization previously approved my ability to follow them, to be mixed into the adopted the hashtag #HeHo45, which was used in 27 or their 66 publicly accessible data. Discussing and sharing such information posts in 2014, or 41% of the time. In 2014, #HeHo45 essentially would have been breach of their privacy, as well as an error in

2.6. METADATA ANALYSIS 66 replaced #HeHo for the year from a centralized approach. Many #ExploreStB #MayorsLuncheon #History other Instagram users who are sharing photographs about the #Fourrures #RameRame #Retro festival use #HeHo. In 2014 the festival shared a photograph about #NuitDeArt #Mystère #Cajun a contest with the following caption: “Take a picture of anything #Explorez #DoorsOpenWPG #GigueVsLéo festival related, tag @FDVoyageur and #HeHo45, and be entered to #ManitobaDay #Adorable #BestTeam win two Voyageur passes.” This likely increased the awareness and #NVW2015 #MCM #Léo use of #HeHo45 by the general public. #ÉtéAuFort #UntilNextYear #FDVoyageur As mentioned earlier, #HeHo didn’t focus the data to my #ICIHéHo #CabaneÀSucre #PetitCanada satisfaction. It is a useful tool in marketing for the festival, but it #OnlyInThePeg #FashionOnIce2015 #FOI2015 is a term that is widely used around the world by people in many #Selfie #Latergram #1Day countries and languages. The data uncovered by #HeHo does not #2Dodos #3DaysToGo #4Jours specifically revolve around the Festival du Voyageur. One could filter #9Jours #9Days #Sparks this data by date, but this adds an extra step for the researcher and #2Weeks #16Jours #WeLoveSnow may still contain unrelated information. #22Jours #GoodTimes #WeLoveMerch I proceeded by compiling all the hashtags that FDVoyageur #Magical #OnAimeLaNeighe #TisTheSeason account had used on Instagram in 2015: #IdéeCadeau #2424Wpg #KitchenPartyInTheCabaneÀSucre #SoyezBarbu #BeBearded #BlackSmith #PlaidShirt #Winter #Festival This list contains French and English words, many of #HeHo #BottleOpener #Shooter which are too broad or too specific to a subject or event too #98Jours #BarGibraltar #FlashBackFriday provide a focused overall view of the festival – for example, #Cuties #BeVoyageur #ShopLocal #Winnipeg or #RiverProject are too broad, while #OùEstLéo #SupportLocal #FaitÀLaMaison #HandeMadeWinnipeg or #WheresLeo are too narrow. One could use the broad #Crêpe #ScreenPrinting #Art terms to see how the Festival du Voyageur fits within a world #TankTop #UnofficialMascot #NationalDessertDay wide conversation of river projects, or how the festival fits into #ThanksGiving #TGIF #Repost all Instagram activity surrounding Winnipeg. One could also #RiverProject #Winnipeg #WorldTeachersDay use the narrow terms to acquire a better understanding of #ExploreMB #Musique #Installations the experience within specific venues at the festival, such as #Stimulate #Senses #NBWpg #KitchenPartyInTheCabaneÀSucre. These tools could provide #TropCourt #Histoire #Hair101 useful information when needed. #WheresLeo #OùEstLéo #SeeItAll I proceeded to search for hashtags that represented a #MEM #IndieFolk #Forge grassroots folksonomy, and evaluated their usefulness in mapping #FortGibraltar #YoungTalent #Canicule digital landscape narratives (Figure 2.28). Instagram indicates #Hot #MadeForWinter #Provencher how many posts contain said hashtag, but only allows one to see #Provencher #Adorable #Panzanella accessible photographs and videos, in this case only public posts. #Stellas #FêteDuCanada #CanadaDay The following is a list of discovered terminology from December #NoFilter #Yum #7Jours 16, 2015, including notes about their content (Table 2.1):

67 2.6. METADATA ANALYSIS Hashtag Number Notes Hashtag Number Notes of of Posts Posts #FestivalDuVoageur 4516 Related to the Festival #FDV 13,657 Term is too vague du Voyageur #FDV2015 1,894 Moslty not related, must be sorted #FestivalDuVoyageurs 15 Spelling issue by date #FestivalDeVoyageur 224 Spelling issue #FDV2014 1,005 Mostly not related, must be sorted #FestivalDuVoyageur2015 106 Related to the Festival by date du Voyageur 2015 #FDV2013 937 Mostly not related, must be sorted #FestivalDuVoyageur2014 63 Related to the Festival by date du Voyageur 2014 #FDV2012 99 Mostly not related, must be sorted #FestivalDuVoyageur2013 22 Related to the Festival by date du Voyageur 2013 #HeHo 10,726 Somewhat related, must be sorted #FestivalDuVoyageur2012 3 Related to the Festival by date du Voyageur 2012 #HeHo45 1,079 Somewhat related, promoted by #FestivalDuVoyageur2010 1 Post not visible contest #FestivalDuVoyageur1991 1 Post not visible #HeHo2015 26 Mostly not related #FestivalDuVoyageurDay 1 Post not visible #HeHo15 19 Only 3 posts visible #FestivalDuVoyageurSlogan 1 Post not visible #BeVoyageur 3 Post not visible #FestivalDuVoyageurLunch 1 Post not visible #FortGibraltar 492 Mostly related to weddings #FestivalDuVoyageurPreppin 1 Post not visible #CabaneÀSucre 13,654 Term is too vague #FestivalDuVoyageurGrounds 1 Post not visible #ICIHEHO 326 Related, promoted by Radio #FDVoyageur 255 Related to the Festival Canada (CBC) du Voyageur #CeintureFléchée 56 Related to festival #FashionOnIce 34 Somewhat Related to the Fashion sash pattern On Ice event

Table 2.1: Instagram Hashtag Analysis – Related to Festival du Voyageur

2.6. METADATA ANALYSIS 68 #BarGibraltar #BeVoyageur

#KitchenPartyInTheCabaneASucre #FDV2013 #Festival #CeintureFléchée #OùEstLéo #HeHo45 #FDVoyageur #FestivalDuVoyageurGrounds#FDV #FashionOnIce #FestivalDuVoyageur2010 #FestivalDuVoyageur2015 #SoyezBarbu #FDV2014 #FOI2015 #FestivalDuVoyageur2013

#FestivalDuVoyageurPreppin#FestivalDuVoyageur#FestivalDuVoyageur2012 #FortGibraltar #Winnipeg #FestivalDuVoyageur2014 #FDV2012 #FestivalDuVoyageurDay #Winter #FestivalDuVoyageur1991 #HeHo15 #HeHo2015 #ExploreMB #FDV2015 #FestivalDuVoyageurDay #FestivalDuVoyageurLunch #CabaneASucre #HeHo#BeBearded #FestivalDuVoyageurSlogan #ICIHeHo

Figure 2.28: Hashtag Cloud

69 2.6. METADATA ANALYSIS The hashtag selected to base the further research of original data on they take place within the Voyageur Park. For this reason, caution is #FestivalDuVoyageur. This may seem like an obvious choice, as it and critical analysis is required when working with geo-locations. is the name of the landscape event in question. I would assume that One would require prior knowledge of the site and festival to become the name of a place or event when used as a hashtag would surely aware of such an issue. One could however analyze the data provide valuable data. But performing such an analysis is useful categorized by this geo-location to gain an understanding of the where the event may be decentralized, or the landscape may be festival’s themes and aesthetics. The original data found within this so large as to contain many places within it. #FestivalDuVoyageur geo-location was very similar to the data found under the hashtag provides a data set that is highly focused. One issue is that this #FestivalDuVoyageur. Another accurately marked geo-location is hashtag does provide a language barrier. This type of analysis may Voyageur Park, however the content found under this location is also be useful where a clear language is not readily apparent. not all located with the actual park, certain data is actually located at other venues. For example, a photograph of people skating near the Rendez-vous on Ice was geo-located with The Forks River Trail, Geo-location Analysis Another form of metadata that may effectively filter original however the marker was located West of the actual location, down data is location or geo-location. On Instagram, users have the choice the Assiniboine River, near the neighborhood of Armstrong Point. to tag the location of their posts. Instagram utilizes Facebook’s Certain geo-locations are geographically accurate and public locations. An Instagram user can tag their post from a list the content classified within them is accurately located, but the of existing public locations, or one can create a new location via data is not filtered by time to reflect the ten days of the festival. Facebook if an existing public location doesn’t exist. Each location For example, Whittier Park, the location of Voyageur Park, has data is marked on a specific point on a map; this leads to one issue that reflects this location all year round, and not specifically relating where one’s post may not be marked exactly where one took it, to the Festival du Voyageur. This is also true for Fort Gibraltar that but in proximity to that point. Within large landscapes, a location contains photographs and videos about weddings and the summer may not be significantly accurate enough to truly represent the interpretive program amongst the festival related data. To accurately location of the photograph. Another issue is that unlike ‘checking- use this data, the researcher would be required to filter the data a in’ on Facebook, which requires the user to be in proximity to the second time by date, which can be time consuming and lead to actual place, location selection on Instagram is added by the user errors due to complexity. However, this type of geo-location can be at the time of posting the data. A user can therefore make an error useful in mapping digital landscape narratives, for example a photo or misrepresent the location of the data. While searching through of two voyageur-adorned men playing tug of war, was geo-located photographs and videos sorted by #FestivalDuVoyageur, I was at the St. Boniface Hotel, providing an accurate location for the able to analyze several posts that had been tagged by location. By event, even though most of the data categorized under this geo- selecting this geo-location tag, one can see the spot marked on a location was unrelated to the Festival du Voyageur. map, as well as all other public posts tagged to this location (Figure Some geo-locations are quite broad, representing entire 2.29). neighborhoods or even cities. Certain content found under The location tagged Festival du Voyageur drops a pin on #FestivalDuVoyageur was tagged with St. Boniface, but this is an the map near the middle of the Voyageur Park; an issue with this entire neighborhood, and the location of the marker was nearly 1 geo-location is that the Festival du Voyageur is a decentralized kilometer East of the actual location of the photograph, which I was landscape event, and locations outside of the Voyageur Park that able to identify due to having prior knowledge of Saint Boniface. are tagged Festival du Voyageur will continue to appear as though Other data was geo-tagged with Winnipeg, Manitoba, which is

2.6. METADATA ANALYSIS 70 pinned in Downtown Winnipeg. Both of these geo-locations are the geo-locations are useful in qualifying the data. In 2015, there useful in understanding the presence of the Festival du Voyageur were approximately 680 posts on Instagram during the ten days within the context of the neighborhood or city scale, but they do not of the festival under #FestivalDuVoyageur; in 2016 there were provide a highly accurate location for the data itself. approximately 1200 posts during the ten days of the festival. This Several photographs within #FestivalDuVoyageur were focused data set is large enough in size to achieve a diversity of accurately geo-located to official off-site venues. The data within points of view and of subject matter, while being manageable in size these geo-locations are not entirely about the festival, as they for one person to analyze. include activity all year round, but this does aid in understanding the atmosphere and types of events that take place in off-site venues. For example, several photographs under #FestivalDuVoyageur, of bands performing and a few advertisements for the Garage Café were geo-located at the Garage Café. A photograph of the skyline including the Canadian Museum for Human Rights and the Esplanade Riel was accurately geo-located at the Saint Boniface Cathedral. The Coeur de Pirate concert was accurately geo-located at the CCFM. An image of French food was accurately geo-located at the Heather Curling Club of Winnipeg, and a photograph of tourtière was accurately geo-located at Mon Ami Louis. Many photographs and videos of the Fashion On Ice event were accurately geo-located at The Forks, although the marker is on land rather than on the river. A few other geo-locations were found while analyzing the #FestivalDuVoyageur hashtag that were not official festival sites. Dwarf no Cachette Café & Gift, a café on Provencher avenue in Saint Boniface, had an unofficial event, represented by three photographs of bands performing. The @Belle_Baguette Instagram account, a French Bakery in Saint Boniface, shared a photograph of freshly baked bannock – the photograph was geo-located at La Belle Baguette. Here we find an example of a company using the Festival du Voyageur in their marketing. While a church in Windsor Park geo-located at Springs Church Winnipeg had a Festival du Voyageur themed family day with horse drawn sleigh rides and dog sledding. Geo-locations provide context for the original data, and in doing so are a useful tool for planners & designers. Researchers may choose to use geo-locations to filter their data, however in mapping digital landscape narratives around the Festival du Voyageur, #FestivalDuVoyageur is more useful for this study, and

71 2.6. METADATA ANALYSIS Tagged Locations 4 1 3 2 1 Festival du Voyageur

2 Voyageur Park

3 Whittier Park

4 Fort Gibraltar

Red River 5 St. Boniface Hotel 7 5 6 Saint Boniface Cathedral

11 7 CCFM

9 8 Heather Curling Club of Winnipeg 12 6 9 Mon Ami Louis

10 The Forks 10 11 Dwarf No Cachette Café & Gift

12 La Belle Baguette Assiniboine River Springs Church 13 8 Winnipeg

N 13 500 m Figure 2.29 Instagram Geo-location Tags

2.6. METADATA ANALYSIS 72 2.7. ORIGINAL DATA ANALYSIS The following section describes several operations that were qualifying information, such as whether the data is a photograph or used in analyzing the original data – the photographs, videos and a video, or which languages are used, time of day, or whether the other content found on Instagram and Twitter. Using the hashtag content was created off-site, inside a tent, indoor or outdoor, and #FestivalDuVoyageur I investigated the original data in two different the negative or positive mood of the data is noted. The third section ways. The first form of analysis resembles William H. Whyte’s indicates the general subject matter of the photograph or video, (2001) research, by providing an overview of activity within a space. whether the image is a selfie, or whether it is about one person, a Through the qualification and quantification of photographs and couple of people, a group of people, or an entire crowd of people. videos on Instagram I will provide an overview of the data, providing This section also determines whether the subject is a landscape, a both insight into the Festival du Voyageur and potential applicability building, a structure, a sculpture, a detail, or food & drink. And finally for mapping digital landscape narratives. Unlike Whyte’s videos that this section establishes if the data represents music, an action by provided a view into a specific site from a single viewer’s perspective one or more people, or a process, such as the making of maple of a single location at a time; the qualification and quantification of taffy. The fourth section qualifies and quantifies the data based Instagram data provides many perspectives from various people on specific subject matter, using 74 categories that I established and across multiple locations. through a combination of experiencing the festival in person on The second form of analysis returns to a traditional form many occasions, analyzing online data, and by speaking with the of landscape architecture site analysis – journaling & sketching. It festival staff. It is important to note that individual photographs and is common for landscape architects to carry a notebook on site videos would meet criteria across all four sections of this study, visits to sketch the existing terrain and jot down notes about the and could meet multiple criteria within a single section; for example existing or potential conditions. With this method I was able to a photograph could qualify as both a narrative experience and a quickly look through each individual photograph or video within the storytelling landscape. A single post could also contain multiple filtered Instagram data, and note any common or outlying features, subjects, such as face paint, lights, and children. activities, or subject matter. This process relies on the expertise of The process of qualifying and quantifying this data involved the designer, as the selection of information is essentially a curation viewing a photograph or video on Instagram within the focused of the data. Where sketching can be a somewhat timely matter hashtag (#FestivalDuVoyageur) and timeframe (the 10 days of in the field, one can simply save an intriguing photograph tobe the 2015 festival), and quantifying the data within a spread sheet. used within the private studio. The result of this process resembles This process is not overly time consuming for the amount of data the storied narrative approach of Jane Jacobs (1989), where the one can acquire; for example each photograph or video would narrative is place or event based rather than focusing on a central take between 30 seconds and 1 minute to evaluate. At this pace protagonist. one could analyze all 680 posts in approximately 5 to 12 hours. While this may seem time consuming, it is quite reasonable when compared to compiling survey data or the traditional community Qualifying & Quantifying Data The user created data on Instagram is qualified and consultation process. quantified in four major sections. The first section evaluates the This data is an excellent piece of information that could be type of landscape narrative, based on the categories established used in planning the Festival du Voyageur as one can see which by Potteiger & Purinton (1998). The second section establishes activities and which subject matter has value in the eyes of festival- goers. However, this data does not represent all festival-goers, it

73 2.7. ORIGINAL DATA ANALYSIS represents Instagram users who attended and shared some content. beating the cold by attending the festival. Genre of Landscape It is quite evident that the largest demographic contributors are part Narrative (2) included specific references to the biography and of the Millennial generation, followed by members of Generation myth of Louis Riel. The Processes category had 0 posts, which X, with photographs of their families and children. This actually is the result of the festival being a finished product when the user reinforces the validity of the data and its applicability, as mentioned experiences it. This category may have been valued if I had included previously, the Festival du Voyageur’s target markets are young content during the time of set-up and take-down, but this would professionals and families. have been content from festival staff, rather than festival-goers. The data can be divided into four value categories: Non- Instagram content that had No Landscape Narrative (42 posts) existent (0 posts), Rare (1 – 10 posts), Common (11 – 50 posts), and was common and was often a form of advertisement for a related Popular (51 posts or more). Beginning with Table 2.2 – Landscape business or organization. Narrative Type, we can see that Narrative Experiences is the most popular type of landscape narrative with 540 out of 680 posts in this No Landscape Narrative 42 category. Within Narrative Experiences is the festival experience, and Storytelling Landscapes 8 of course most posts are about such an experience. It is surprising Narrative as Form Generation 2 however to see that posts within Associations & References (44 posts) and Memory Landscapes (42 posts) are only Common, Interpretive Landscapes 16 rather than Popular. This is the first telling part of the data that Processes 0 points to the fact that the Festival du Voyageur is primarily a festival Genre of Landscape Narrative 2 experience, where the memory of the voyageur and references to history are part of the theme and overall aesthetic, but more so in Narrative Setting & Topos 4 the background of the experience. This becomes even more evident Memory Landscapes 42 in considering Interpretive Landscapes (16 posts) and Storytelling Associations & References 44 Landscapes (8 posts), where the description of the Festival du Voyageur at the beginning of the chapter gave the impression that Narrative Experiences 540 the history and interpretive aspect of the event was central to the Table 2.2: Landscape Narrative Type experience. These results are likely attributed to a couple of factors: the first being that the young professional demographic is attending the festival for a carnival-like experience and accords value to this; the second reason being that the Festival du Voyageur may provide more activities for the Narrative Experiences, such as concerts, than the historical or interpretive activities, such as the workshops. The Rare categories are the result of specific activities with the festival experience. Narrative as Form Generation (2 posts) is the result of the Torch Light Walk, as the route of the walk is established by the historical value of the locations en-route. Narrative Setting & Topos (4 posts) is the result of people accomplishing feats, such as the ice-climbing wall, or climbing the snow hill, and festival-goers

2.7. ORIGINAL DATA ANALYSIS 74 In Table 2.3 – Qualifying Information we can see that most is mentioned, users are not complaining but playfully bragging and of the posts are Photographs (630 posts), and Videos (50 posts) are rejoicing in the Winnipegger’s heartiness and ability to overcome less common. This is likely caused by the fact that photography is the gelid winter. In 2015, there is no evidence on Instagram of users the traditional use for Instagram, as video was only added in 2013. having issue with the long line-ups. Within the Instagram application, there are more options to edit and Table 2.4 – General Subject, displays the overall subject curate photographs than a videos. English (536 posts) is the most matter of content that is found in the data. 88 of the posts were popular language, while French (56 posts) was far less prevalent. Selfies, which could include one person, to many people, so long This is surprising as the festival is a French language festival, as the photograph also include’s the photographer. The selfie, at and although only 40% of the attendees are Francophone, the 12.9% of all content is a significant modern phenomenon that Instagram data does not represent this reality. This is likely the result designers can practically utilize in creating a satisfying experience of the fact that most Franco-Manitobans are bilingual, and many of and in connecting the landscape to the marketing of the festival, as which have Anglophone friends, and would prefer to include them many of the selfies were taken in front of a snow sculpture. How one in the conversation and experience. No other languages were noted designs to accommodate for the selfie is another matter all together, under the hashtag #FestivalDuVoyageur in 2015. Certain posts did but the data shows that providing space for people to gather with not contain a language as no caption or comment was included. a clear view of a feature such as an installation, or horizon, in the 322 posts were clearly taken at night, while only 20 posts background are common attributes. were taken during the day. Certain posts contained no reference In considering the number of people featured in a post, to the time of day. The Night posts are the result of young Groups (240 posts) of people were the most common, as festival- professionals being the largest demographic in this data set. The goers attend the event as families or with several friends. A Single Day posts generally came from a combination of families and young Person (110 posts), either a selfie or a photograph or video taken by professionals. The largest category for location-based posts is another individual, follows this. Surprisingly, Crowds, with 66 posts, Inside Tent (250 posts), where most of the concerts take place, are underrepresented compared to the frequency of concerts and where one can escape the frigid temperatures of the 2015 and the number of people in attendance. The Couple (40 posts) festival. This is followed by 188 posts Outdoor, which mostly take category, where only two people are featured in the photograph is place within the Voyageur Park. The 102 Indoor posts could be significantly less represented, with the majority of content stemming located within the Voyageur Park, or off site, as indoor locations from Valentine’s Day. are difficult to locate without qualifying metadata. The Off Site When content includes subject matter other than people, (70 posts) content includes all photographs and videos that were posts about Music (190 posts) are the most common, followed identifiably not created within the Voyageur Park; this could include by Food & Drink with 106 posts. This reinforces the idea that the photographs of snow sculptures throughout the city, other official event is foremost valued as a themed music festival rather than venues, or locations that are not officially affiliated with the Festival an interpretive experience. In considering the built environment, du Voyageur. the Sculpture (72 posts) tops the list, as snow sculptures are It is quite fascinating to note that 576 posts were qualified temporal and very photogenic. The Landscape (50 posts) category as Positive, while only 1 post were seen as Negative. Of course one is also quite significant as the outdoor experience within a themed would not likely attend a festival if a negative experience is expected, winter landscape is not a common one, yet is quite beautiful. and Instagram is generally a positive space, where content is Buildings (16 posts) are essentially not present within the Voyageur rewarded by ‘likes’, rather than ‘dislikes’. Where the cold weather Park, except for the washrooms, the cabins and the Maison du

75 2.7. ORIGINAL DATA ANALYSIS Bourgeois, inside the fort walls. The Structure (20 posts) category was surprisingly low, as the tipis from the Indigenous Winter Trading Camp were severely underrepresented, as were the palisades of Fort Gibraltar. Images of tents from the exterior were also highly underrepresented, considering the large number of tents on site. The two former categories do not include data from inside a building or tent. It is important to note that when buildings and structures were represented in photograph, the content was often the result of professional or amateur photographers, and the quality of the work was notably high. These people are outliers within the data, and could be thought of as primary storytellers. Reviewing these users accounts in search for other related content could provide a fruitful data source outside of the everyday festival-goer’s experience. Action (30 posts) photographs and videos most often involved games, tobogganing or snow-shoeing. Process (40 posts) content was most often related to the making of maple taffy.

Video 50 Process 40 Photograph 630 Action 30 Other Language 0 Music 190 English 536 Food & Drink 106 French 56 Detail 88 Off Site 70 Sculpture 72 Inside Tent 250 Structure 20 Outdoor 188 Building 16 Indoor 102 Landscape 50 Night 322 Crowd 66 Day 202 Group 240 Negative 1 Couple 40 Positive 576 Selfie 88 Single Person 110

Table 2.3: Qualifying Information Table 2.4: General Subject

2.7. ORIGINAL DATA ANALYSIS 76 Skating 4 Ice Climbing 4 Wood Working 8 Ice 10 Green Screen Photo 8 Horse & Sleigh 2 Games 4 Gun 2 Organization 32 Fur Pelt 2 Market 4 Food (Other) 20 Older Photo 2 Food (Poutine) 6 Indigenous (Non-Métis) 2 Food (Pea Soup) 4 Way Finding 4 Food (Maple Taffy) 30 Temperature (Satisfactory) 8 Flag 2 Temperature (Hot) 0 Fireworks 2 Temperature (Cold) 14 Fire 16 Snow Shoes 4 Family 20 Snow Sculpture (Off Site) 8 Face Paint 10 Snow Sculpture (Entry) 30 Entry Pass or Brochure 6 Snow Sculpture (General) 32 Drink (Ice Glass) 24 Snow Cut-out 2 Drink (Caribou) 40 Snow Maze 0 Drink (Beer) 12 Snow 60 Drink (Alcohol) 44 Slide - Toboggan 4 Drink (Hot) 8 Sky 16 Drink (Cold) 48 School 8 Crafts 4 Reenactment 2 Clothing (Fashion) 20 Photo-op Face Cut-outs 2 Clothing (Fur) 26 Pets 2 Clothing (Sash & Pattern) 78 Music (Spoons) 6 Clothing (Traditional) 40 Music (Promotion) 16 Children 46 Music (Dance) 10 Canoe & Paddle 4 Music (Concert) 156 Candle 8 Music (Busker) 6 Beard & Hair 14 Mascot 4 Architecture (Other) 10 March or Parade 8 Architecture (Tipi) 2 Louis Riel 2 Architecture (Tent) 44 Logo 18 Architecture (Cabin or Shack) 12 Lights 94 Architecture (Fort) 28 Landscape (Other) 2 Advertisement (Other) 34 Landscape (Festival Grounds) 20 Advertisement (Festival) 28

Table 2.5: Specific Subject 77 2.7. ORIGINAL DATA ANALYSIS Table 2.5 – Specific Subject describes the data with more on every related post, opening the door to more content than the specificity than Table 2.4. We can see that Music – Concert (156 original hashtag included. In mapping digital landscape narratives, posts) is the largest category. This is significant, as one would assume establishing key storytellers through this process could provide a from the description of the Festival du Voyageur in the beginning of deeper understanding of the day or evening at the festival through the chapter that the festival is primarily focused on the history of the eyes of one person. This process of contacting individual users the Voyageur, Louis Riel, and French Canadians, especially from an via Instagram’s internal messaging system was extremely time interpretive perspective. My committee members expressed their consuming and complicated. Instagram only allows users to contact surprise of this fact, and that they did not realize that the Festival one another via a mobile device, rather than a computer, and only du Voyageur was at the forefront a modern music festival, where allows for 150 characters to be messaged at a time. Often, users do the historical aspect provides a thematic and aesthetic background. not receive a notification that a message has been sent, as this can The music performed at the festival is both French and English, be adjusted in the application’s settings. I contacted 70 Instagram but is not restricted to historical references, and includes popular users via the messaging system. I received 25 replies from users, contemporary music. The two next largest categories are Lights all of who were interested in contributing their photographs to this (94 posts), as the largest demographic attends at night, when the practicum document. I proceeded by sending them a consent festival is filled with colorful lights, and Clothing – Sash & Pattern, form that had been approved by the JFREB, via e-mail. Only 13 as dedicated festival-goers wear a ceinture fléchée, a sign of their signed consent forms were returned. All collected photographs dedication to the Festival du Voyageur. This data set allows planners can be seen laid out in a similar way as they are presented on to understand where festival-goers attribute value to specific Instagram from Figures 2.30 to 2.67. The overall attitude of those aspects and activities of the festival. One would assume that to 13 users was very positive and I would describe our interactions as satisfy the largest demographic of festival-goers, represented under positive; for this reason, working further with this group would be #FestivalDuVoyageur on Instagram, would be to provide high quality highly recommended – they could be stakeholders in the Festival spaces for musical concerts, a myriad of lights, and opportunities du Voyageur that could provide positive feedback for the planners. for festival-goers to purchase a sash. Where data is only Common These people, having already provided their willingness to share or Rare, further analysis into the contributing users’ accounts could their photography with the larger public, could be an excellent provide insight into who these people are, including their age, source for the visual representation of the Festival du Voyageur, and gender, race, culture, profession and interests. Obtaining insight the storytelling through photography that happens on social media. into the outlying demographics could aid landscape architects to In replicating a similar process of contacting social media better design and plan landscapes for these people. In this case, users, I would not recommend Instagram, as the messaging system the Festival du Voyageur could use such data to plan and program is quite time consuming and does not allow one to directly attach a the landscape to increase attendance with a varying demographic. consent form or any data, such as the photographs that the users would provide the researcher. This requires the exchange of e-mail addresses, which may be seen as an invasion of privacy by some. Contacting Festival-goers In this research process I added an extra step to the data This also adds more complexity and time to the process, likely analysis: when a photograph was poignant, representative of a reducing the number of participants. In retrospect, using Facebook trend, or an outlier, I would contact the user to acquire permission to contact users may have been simpler as the internal messaging for the photograph and other related Festival du Voyageur content system is similar to e-mail, allows for attachments, and is more from their account. Certain users did not use #FestivalDuVoyageur commonly used. The overall process on Instagram to contact users,

2.7. ORIGINAL DATA ANALYSIS 78 build a trusting relationship, deliver a consent form to the user, and comparison to the number of photographs, however in 2016 the have them return a signed copy, took several weeks. number of videos had significantly increased. The photographs acquired through this process are very I was surprised to see that a large quantity of the content useful in communicating the overall experience of the Festival du found on Twitter under the #FestivalDuVoyageur hashtag was Voyageur to people who have never attended, or to display an ‘tweeted’ by radio stations and politicians. Often people will share aspect that some festival-goers have not experienced. Viewing the an Instagram post via Twitter, allowing for access to the content on festival from many points of view aids in reducing the researcher’s both platforms. The problem with this from a journaling perspective bias. We can see the white snow of the sculptures, and toboggan is that the ‘tweet’ will provide a link to Instagram, rather than sharing run during the day, and how the snow turns purple and pink in the the actual photograph on Twitter. This adds an extra step for the night’s lights. We can see the interpretive experience, the making researcher. I chose to ignore these posts, as the content would of maple taffy, and the overall pallet of colors and materials used have already been observed on Instagram. throughout the festival. On occasion, an Instagram user will share many photographs in a row or throughout a day; this is useful to understand the festival from a sequence of photographs. Twitter allows users to post Journaling Data Analysis The second form of analysis involves journaling many photographs in one Tweet, allowing for the sequencing of observations of the original data. I analyzed the content surrounding photographs to be seamless. This can be seen, for example, as the Festival du Voyageur under the hashtag #FestivalDuVoyageur provincial Progressive Conservative candidate for Saint Boniface, in 2015 and 2016, allowing for the comparison of the festival over Mamadou Ka, ‘tweeted’ four photographs from the Festival du two years. This also allows one to gain a better understanding of Voyageur. He began by sharing a photograph of his experience the use of Instagram as a tool in community engagement. I followed taking part in the Torch Light Walk, followed by a photograph of him this with an analysis of Twitter activity under the same hashtag for posing in the entrance tunnel to Voyageur Park. He then shared a the 2016 festival to gain an understanding of the ways in which photograph of himself watching the maple taffy making process, Twitter content differs from Instagram content and whether the two followed by a photograph of him warming his hands over the central platforms provide varying views and narratives of the Festival du fire. From this series of images, we can develop an understanding Voyageur. The process of journaling can be quite quick and efficient of one’s evening on the first night of the festival. for the purposes of site and programming analysis. The process is slower in the beginning as all content contains new themes and Programming & Activities subject matter. Once a trend has been noted, these posts can be One of the strongest aspects of the journaling process is overlooked, and the researcher needs only to be aware of the trend that it allows one to see the programming, activities and events of and note new and outlying activity. the festival that users attribute value to; whether these activities are The two social media platforms provide varying content clearly communicated in the centralized data and festival programs, and differing demographics. Instagram provides an opportunity for or whether these events are outside of the traditional data set and users to share photographs and videos that can include captions are discovered by the researcher via social media. For example, one and comments, with a demographic primarily ranging from teens, can find on Instagram that in 2015 users shared content about the to young and middle aged adults. Companies and organizations following programmed activities and subjects that were mentioned will also post advertisements to Instagram. An important note is in the description of the festival at the beginning of the chapter: ping- that in 2015, videos on Instagram within this data set were rare in pong (as part of the games), the mascot relay, the Parks Canada

79 2.7. ORIGINAL DATA ANALYSIS Figure 2.30 - @Emilie.Indigo Figure 2.31 - @Eg_N Figure 2.32 - Anonymous User Figure 2.33 - @Wanderlust_Bella

Figure 2.34 - Ruth Mehzenta Figure 2.35 - Jonas D. R. Desrosiers Figure 2.36 - @SamKat Figure 2.37 - Ruth Mehzenta

Figure 2.38 - Jonas D. R. Desrosiers Figure 2.39 - @Wanderlust_Bella Figure 2.40 - Konstantin Ostrovski Figure 2.41 - Pedro Bedard

2.7. ORIGINAL DATA ANALYSIS 80 green screen booth, the fire breathing show. One user expressed Snow Sculptures that tobogganing was the highlight of her experience. Many users In considering all three data sources, Instagram in 2015 and shared their experience of people dancing at the Bar Gibraltar, 2016, and Twitter in 2016, the snow sculptures are a common theme including a video that provided an sense of the atmosphere of the and subject matter. In 2015 the entry snow sculpture was the most party; similar content about Bar Gibraltar was also shared many common, as described by an Instagram user’s caption: “Obligatory times in 2016. Entrance Shot.” The second most popular snow sculpture was of a The following programmed content was shared on horse’s head. The other snow sculptures were far less common. In Instagram in 2016: Fashion On Ice, Face Painting, foosball (as part 2016, with the absence of an entry sculpture, the content regarding of the games), snow-shoeing in the Voyageur Park, a historical snow sculptures was divided amongst all the sculptures within the battle re-enactment at Fort Gibraltar, the Métis flag and Louis Riel Voyageur Park. A few photographs were taken of the entry tunnel, mosaic on Louis Riel Day, the educational ambassador – the arctic but mostly they featured the adorned tunnel walls from the outside fox, canoe races, and the beard growing contest. One woman of the tunnel, rather than the interior. The largest portion of the snow shared a photograph of the Let Them Howl exhibit and described sculpture photographs were taken at night, when the colourful lights the importance of the exhibit and her strong emotional response to enhance the art installations. Instagram user @KyleSchappert put it the gallery. Another user shared a photograph of two people who this way: “White by day, Purple & Pink by night.” climbed the snow hill with their arms up cheering at their great feat. On Twitter in 2016, much of the activities that had previously been mentioned were shared. @VirginRadioWPG ‘tweeted’ about Families Much of the content revolving around families was the DJ night at Fort Gibraltar. @CBCManitoba shared many insightful to me as I am not part of that demographic. One photographs and links about crafts, maple taffy, and the interpretive Instagram photograph of a family in 2016 had the caption: “Family services. @MichelSaba, from Radio-Canada, shared an image of that #festivals together stays together.” Parents will often pull their the historical battle reenactment. Other shared content includes the children on a sled to get to the festival and continue to pull them following: sleigh rides, tobogganing, the Louis Riel mosaic, families, around the Voyageur Park. One father showed how pushing his the owl ambassador, and children with face paint. daughter around in a stroller was difficult. An area by the playground Investigating this data provides information that is not was termed “Toboggan Parking” by a 2016 Instagram user, as a pile readily available anywhere else, such as: children playing video of sleds and toboggans had been left as families retreated from the games in one of the tents, festival-goers watching a Winnipeg Jets cold into warm tents. From a planning perspective, one can imagine hockey game outdoors on a projected snow screen, people taking how this data could lead to formal sled and toboggan parking area, their dogs to the festival, roasting marshmallows over a fire, and or even toboggan rentals for families. mundane details such as hanging jackets on the inside of tent walls. The Royal Canadian Mint ‘tweeted’ that festival-goers could take a photograph with a real gold bar at Fort Gibraltar, and included a link to Facebook for more details. We can see how social media data can provide information that was not available through the programming schedule of the festival.

81 2.7. ORIGINAL DATA ANALYSIS Figure 2.42 - @Mikhayla.Ann Figure 2.43 - Jonas D. R. Desrosiers Figure 2.44 - Carla Dyck Figure 2.45 - Jonas D. R. Desrosiers

Figure 2.46 - @DougMcArthur Figure 2.47 - Jonas D. R. Desrosiers Figure 2.48 - Jonas D. R. Desrosiers Figure 2.49 - @DougMcArthur

Figure 2.50 - Jonas D. R. Desrosiers Figure 2.51 - Jonas D. R. Desrosiers Figure 2.52 - @DougMcArthur Figure 2.53 - Jonas D. R. Desrosiers

2.7. ORIGINAL DATA ANALYSIS 82 Special Content Language & Culture There are a few other ‘tweets’ that stood out, for example Instagram data in 2015 & 2016 primarily contained content @AudetteNic shared 5 tips for FDV, a summary of which is: in English, with a minority of posts in French, as previously mentioned. 1.Be prepared: don’t buy your ticket at the park, buy it ahead of In 2015 those were the only two documented languages, however time, off-site and show up early to the tents in 2016 the data contained a post in Spanish, one in Korean, and 2.Getting to the park: don’t drive, take the bus one in Russian. A 2015 photograph featured a young girl wearing 3.Don’t be picky: some events will busy, but there are many what was described as a “traditional German Métis costume”, other things to do which is intriguing, as I had not heard of the German Métis until 4.Dress smart: dress warm and in layers this point. Other posts were about sharing the Festival du Voyageur 5.Go more than once: buy a full pass – attend at different times experience with people from abroad, such as one person who and have different experiences brought their friends from New Brunswick to the Voyageur Park; Another Twitter user attended the festival 6 times in and one photograph had a Peruvian woman wrapped in a blanket, 2016. @SquireYoga shared a blog post with many photographs braving the Winnipeg winter. detailing the whole process of The Wild Winter Canoe Race. And @AlwaysSmile5522 created a travel diary video that displayed, in Temperature & Weather detail, her trip to the Festival du Voyageur. Instagram & Twitter posts about the Festival du Voyageur frequently mention the temperature and weather as a partially Food outdoor winter festival fluctuates with the weather. A common Food makes up an important part of the Festival du theme is how Winnipeggers earn their hardiness and friendliness Voyageur, and gaining an understanding of this was possible via by engaging the cold winter temperatures, and the Festival du social media. Of course the process of making maple taffy appears Voyageur is where this takes place. Twitter user Alara Matsyk (@ frequently, as it is a highlight of the festival. The pea soup contest alarabobara) put it this way: “I feel like… only in #Manitoba will you appears in all three data sets, with the official venue The Marion wait outside at -20 to go to the bathroom in a frozen portopotty… Street Eatery (@MarionStreetEat) ‘tweeting’ about the pea soup #festivalduvoyageur.” Many people do however turn to social media contest. They also ‘tweeted’ a link to an article in the Spectator to warn their friends and family to dress properly to beat the cold. Tribune detailing where to eat during the festival, with a list of the As the mercury drops, the posts about the temperature increase. official venues. Cookie decorating appeared in the 2015 Instagram But as the temperature increases, posts about the nice weather data, while beaver tails were found in all three data sets. Another can still be found, as one 2016 Instagram photograph caption read: rare but significant practice is sharing recipes about Voyageur “Only -6 today.” However, a comment on Twitter noted that as related food, as one 2015 Instagram user shared a photograph of a the temperature rose, so did the number of people in attendance. home baked tart that was inspired by the Festival du Voyageur and Another Twitter user mentioned that the crowds were thin with the shared the recipe in the caption. temperature at -40°C, but it was warm inside the tents. But in 2015 an Instagram post showed how crowded the tents were due to the cold weather; and lines to enter the tents had formed as one Instagram user put it: “The band was worth waiting in line for 30 minutes in -30.” In 2015 one negative comment was found about the weather, as a family with small children headed home due to the blistering cold.

83 2.7. ORIGINAL DATA ANALYSIS Figure 2.55 - Carla Dyck Figure 2.56 - Carla Dyck

Figure 2.54 - Carla Dyck Figure 2.57 - Carla Dyck Figure 2.58 - Carla Dyck

Figure 2.59 - Carla Dyck Figure 2.60 - Carla Dyck Figure 2.61 - Carla Dyck

2.7. ORIGINAL DATA ANALYSIS 84 Negative Comments Most content on social media is positive, as positive content receives more ‘likes’, and as mentioned in the interview with the festival staff, most negative comments are issued ina private message. Most of the negative comments revolve around the long lines that can form within the Voyageur Park, which can act as a warning system for friends and followers who are considering attending the festival. One 2016 Instagram photograph detailed a long line coming out of the Snow Bar, while another from Family Day at the park showed a long line of families waiting to buy maple taffy. On Twitter in 2016 a photograph displayed a long weaving line coming out of the Rivière Rouge MTS tent, with the caption: “Luckily for me this was after exiting.” Another 2015 Instagram photograph detailed two women with intentionally sad faces, the caption reading: “We can’t ALL get into the Lytics guys…#festivalduvoyageur”, as the tent hosting the popular hip hop group was completely full. One 2015 Instagram user brought to attention the lack accessibility of the festival for those without the funds to purchase a pass, as he mentioned that he didn’t have the money to get in, so he took some photographs from outside the fence. While another user, who had the means to attend, expressed on Twitter: “What else is there to do at #FestivalDuVoyageur other than freeze and listen to shitty live bands play? Serious question.” Negative comments are however very rare, hence most landscape’s would tend to be represented in a positive light.

85 2.7. ORIGINAL DATA ANALYSIS Figure 2.63 - Jon Kilimnik Figure 2.64 - Carla Dyck

Figure 2.62 - Jon Kilimnik Figure 2.65 - Carla Dyck

Figure 2.66 - Carla Dyck Figure 2.67 - Jon Kilimnik 2.7. ORIGINAL DATA ANALYSIS 86 Location celebrating the St. Norbert Métis and Voyageurs. One of his Locations that are not represented by geo-locations or tags photographs, taken at Place Saint-Norbert, had the description: are often mentioned on social media, and through the journaling “St. Norbert has heritage & connection to the Voyageurs.” The 2015 process one can build a map of these locations that represent an Instagram data shows that a snow sculpture was located at the informal view of the Festival du Voyageur. Using the Instagram data intersection of Bishop Grandin Boulevard and Dakota Street, and from 2015 & 2016, and Twitter data from 2016, I was able to identify another was located at the corer of Main Street and Broadway. 31 locations where Festival du Voyageur activities took place, or Other locations were determined as people attended where the festival was mentioned, or where advertisements by unaffiliated establishments prior to or after attending the Festival stores, restaurants and cafes used the festival as a promotional du Voyageur. The Pint, a pub in Downtown Winnipeg, shared tool; locations that fit within the neighborhood scale of the festival a photograph of three young women wearing sashes, inviting have been mapped in Figure 2.68. festival-goers to their establishment after attending the festival. The Some of the identified locations are official Festival du Boston Pizza restaurant shared a photograph of a group of people Voyageur sites or officially affiliated venues, such as: the Centre dressed as voyageurs walking around in cardboard canoes, spread Culturel Franco-Manitobain, the Esplanade Riel (Mon Ami Louis), the festival spirit to Downtown. The Mitchell Block Lounge at 173 the Saint Boniface Cathedral, the Canadian Museum for Human McDermot, in the Exchange, and the Earls restaurant in Downtown Rights, Fashion On Ice at The Forks, and the Voyageur Games at both shared posts inviting people to enjoy a meal before heading the Marion Hotel. @MarionStreetEat and @GarageCafe ‘tweeted’ to the festival. Cibo Waterfront, a restaurant directly across the river advertisements describing their hours and activities, clearly from the Voyageur Park shared a photograph of a bottle of bourbon, identifying their venues as Festival du Voyageur sites. inviting guests before or after the festival. 441 Main, a nightclub in Certain posts are located at schools across the city as Downtown Winnipeg, offered guests free priority entry with a Festival many schools have Voyageur themed days, or pancake breakfasts. du Voyageur pass or ticket stub. Chocolatier Constance Popp, on Many French-immersion schools and Francophone schools have Provencher used #FestivalDuVoyageur in an advertisement. The Soirées Fléchées (In English: Sash Nights), where they celebrate Penny Loaf Bakery, on Corydon Avenue, shared a photograph of all things related to the Festival du Voyageur. For example a 2015 tourtière on Instagram in 2016. And For The People clothing shop in Instagram photograph showed a band was playing at St. Ignatius Osborne Village shared an image of essential winter festival clothing School. Another showed that the children had made dream- in their advertisement on Instagram. catchers at École Guyot. And in 2016 Viscount Alexander School This location data shows that mapping digital landscape had Métis Night. On Twitter, former provincial MLA Dave Gaudreau narratives can provide similar yet varying data as conventional for St. Norbert, ‘tweeted’ that École Noël-Ritchot had a pancake analysis. Where mapping digital landscape narratives lacks in breakfast; and @EcoleLandsdown shared a photograph of a identically replicating centralized information, it makes up in providing musical show for the kids. information that is not available from an authoritative source. We can In 2015 an Instagram user shared a photograph of the see with these locations that the Festival du Voyageur expands far opening ceremony fireworks, but from across the river from an beyond the official and affiliated sites. This data can aid the festival apartment in the Exchange neighborhood. Another user shared a staff in planning the off-site locations and gain control of their brand photograph of snowshoe prints upon the frozen river, explaining as it spreads across the landscape. that she snow-shoed to the festival down the Assiniboine River from the Hugo Docks. @DaveGaudreau ‘tweeted’ many photographs

87 2.7. ORIGINAL DATA ANALYSIS Instagram 2015 7 1 The Pint Winnipeg 2 Boston Pizza City Place 3 Mitchell Block Lounge 4 CCFM 6 5 1 Snow Sculpture 6 Rivière Rouge Tent 7 View of Fireworks 3 Instagram 2016 1 Cibo Waterfront Cafe 2 Esplanade Riel 3 Saint Boniface Cathedral 4 Red River CMHR 4 5 Marion Hotel 1 6 Chocolatier Constance Popp 7 441 Main 6 2 8 Boston Pizza City Place 2 8 2 1 4 Twitter 2016 1 Earls Main Street 3 2 Garage Cafe 3 5 The Forks 4 Marion Street Eatery 3

N 500 m

Assiniboine River

4 5

Figure 2.68: Locations Noted on Instagram and Twitter

2.7. ORIGINAL DATA ANALYSIS 88 2.8. CONCLUSION Mapping Digital Landscape Narratives is not a single The conclusions of this study are the result of many factors. process, nor is it limited to the examples and operations expressed As the researcher, I had a significant influence over the curation and in this practicum; it is an adjustable process that must consider mapping of the narrative. The data is impacted by the utility of the the social media applications and platforms, the accessibility and social media platforms. The demographic of the user base of the availability of data, and the intentions of use of the data. Where selected social media platforms also largely impacted the data. It insight into a community, or landscape is desired, or where existing is for these reasons that mapping digital landscape narratives can data is insufficient, mapping digital landscape narratives has the only make up part of the consultation process, as it encourages potential to provide multiple views from multiple people. The aim of the participation from certain people, users of Facebook, Instagram this practicum is to position landscape architects and planners at and Twitter, while ignoring those who do not participate in social the forefront of community engagement and mapping digital data. media activity or those who simply did not share related data with The everyday experience is likely to become ever more mediated the public. by technology, and as designers of everyday spaces, landscape In dealing with social media data and information relating architects should be prepared for the paradigmatic shifts of the to people, their identities and their online public-private lives, digital era. maintaining a strong understanding of privacy lies at the forefront This practicum displays that through the mapping and of this type of research. The transient nature of social media curating of social media data surrounding the Festival du Voyageur, platforms and their privacy policies has affected the research in this one could not only locate where the festival takes place, but how document, from the access to certain forms of information, to the the festival feels and appears, and the attitude and atmosphere communication with stakeholders. This issue will likely continue to of the event. I developed an understanding of the festival by affect this type of research in the future as social media platforms are researching the programming of the event and studying the site always adapting their policies and utilities to changing conditions. layout of the festival on the city scale, the neighborhood scale, and Social media researchers must maintain a consequential approach the scale of the festival grounds, over a two-year time period. The to privacy. process of mapping digital landscape narratives complemented this In this document, social network data has provided insights conventional information. I was able to gain insight into how various into the Festival du Voyageur that may have not been apparent, and people experience the Festival du Voyageur for themselves, and which has likely never been mapped and visualized before. The use develop a complex narrative that could influence the future design of Lima’s graphical markers (2011, 50), such as areas, line features and planning of the festival. and point features, allowed me to visualize the relationships among Firstly this practicum displays how centralized data organizations that hold an interest in the Festival du Voyageur. from official social media accounts can be useful in constructing The application of the Pew Research Center’s network structures visual narratives about a landscape. Secondly this document (Smith et. al. 2014, 50), allowed for the reading of the festival’s compares the democratically created social data to the central data social organization network to be understood as a hybrid of both a surrounding the festival. One may have previously assumed that the broadcast network, and a tight crowd made up of two sub-clusters Festival du Voyageur is a history and interpretation focused event, – a Winnipeg related group, and a Franco-Manitoban related group. however data collected and curated from a young professional and Lima’s (2011, 80) five key functions of network visualization family centric demographic expresses that the festival is primarily were useful in gaining valuable information for social network data: a modern music festival, where music, food, groups of people are more prominent than interpretive and historical experiences.

89 2.8. CONCLUSION 1. Document – the social network collection of data about the and specific subject matter focused on concerts, lights, snow, and Festival du Voyageur from Facebook. traditional voyageur attire. 2. Clarify – the graphical representation of the data as nodes I also used a research approach that resembles Jane and edges. Jacobs’ work (1989), in describing the festival with a place-based 3. Reveal – the classification of the network structure asa narrative, through a process of journaling. This process allows broadcast network and community clusters. for the researcher to immerse themselves in the data, and gain a 4. Expand – the application of the information to better broad view of the festival from various people in various locations. understand the community surrounding the festival. The multitude of stories that emerged opened up new and likely 5. Abstract – the representation of the data geographically, previously unconsidered design and planning opportunities relating rather than the original relational representation. to location and programming. I will add a sixth function in considering the role of landscape Mapping Digital Landscape Narratives is a general architects as decision makers: Reflect – which is a means of approach to constructing, curating and understanding the way considering the utility and application of the data mined. With this in which landscapes are used, where landscape value is found data one could make the argument that expanding the Festival du within communities, and which actors within these communities Voyageur into the Exchange District is an option should there be a are identified as stakeholders and contributors to a landscape’s desire to do so, while focusing an expansion in Saint-Boniface is narrative. This approach to digital landscape narratives is a passive also likely favorable. It is important to recognize that the bias of the approach to community engagement. In a very short period of researcher is inherent in the creation of maps and networks, as the time, relative to the traditional community consultation process, selection of data, and its representation are choices made by the the mapping of digital landscape narratives could provide a researcher. plethora of information about a community and a landscape. This The metadata employed in this practicum includes hashtags, research establishes a starting point for landscape architects to locations and time, to filter data related to the festival. Through a engage communities through the use of social media. While this study of the folksonomy surrounding the Festival du Voyageur, I was research limits the mapping of digital landscape narratives to a able to determine that #FestivalDuVoyageur proved more useful in passive approach of collecting and curating existing data, where mapping digital landscape narratives than the conventional #HéHo communities are not directly communicating back and forth with hashtag. Location and time as data filters proved inaccurate, yet still the designer, it should not undermine the potential for social media remained a useful tool in gaining understanding about specific off as an active tool for community engagement. One can imagine site venues, and in qualifying the original data. how landscape architects could further develop digital landscape The most significant information to emerge from this narratives, via surveys, conversations, digital photography albums, practicum relates to the original data revolving around the Festival du blog posts, tweets, and sharing any narrative related information; Voyageur – the photographs, videos, and text created and shared ultimately engaging communities online, and essentially becoming via Facebook, Instagram and Twitter. I used a process of qualifying agents, contributors and mediators of digital landscape narratives. and quantifying Instagram data that, similar to William H. Whyte’s As the physical and the digital world are becoming integrated, I work (2001), provides an overview of the landscape in question. foresee a future where the advancement of augmented reality will This study displayed that Narrative Experiences was the most essentially embed social media into the physical world, and the prominent landscape narrative type, while positive photographs concept of digital landscape narratives and physical landscapes with English captions were the most common form of data. General themselves will become one. subject matter related to groups of people, music, and food & drink, 2.8. CONCLUSION 90 REFERENCES Abrams, Janet & Peter Hall. 2005. Else/Where: Mapping: New Cartographies of Networks and Territories. Minneapolis, MN: University of Minnesota Design Institute & University of Minnesota Press. Barker, John. 2012. Festival du Voyageur: Not just a Celebration for Saint-Boniface. 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Malden, MA: Polity Press. Coyne, Richard. 2012. Mosaics and Multiples: Online digital photography and the framing of heritage. In Heritage and Social Media: Understanding Heritage in a Participatory Culture, 161-178. New York, NY: Routledge. Dempwolf, C. Scott & L. Ward Lyles. 2010. The Uses of Social Network Analysis in Planning. http://www.academia.edu/241830/The_uses_of_social_network_analysis_in_planning_a_review_of_the_literature [April 3, 2014] Di, Meng. 2013. Wandering Between Self-Expression and Recognition: A Case Study of the Mobile Microblogging Practices of Young Chinese Women in Hong Kong. In Mobile Media Practices, Presence and Politics: The Challenge of Being Seamlessly Mobile, 116-134. New York, NY: Routledge. Duggan, Maeve & Aaron Smith. 2013. Social Media Update 2013. Washington, DC: Pew Research Center. http://www.pewinternet.org/2013/12/30/social-media-update-2013/ [April 4, 2013] Fast Company. 2010. 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REFERENCES 92 Shirky, Clay. 2008. Here Comes Everybody: The power of organizing without organizations. New York, NY: Penguin. Smith, Marc A., Natasa Milic-Frayling, Ben Shneiderman, Eduarda Mendes Rodrigues, Jure Leskovec, Cody Dunne. 2010. NodeXL: a free and open network overview, discovery and exploration add-in for Excel 2007/2010. Social Media Research Foundation. http://nodexl.codeplex.com/ [April 4, 2014] Smith, Marc A., Lee Rainie, Ben Shneiderman & Itai Himelboim. 2014. Mapping Twitter Topic Networks from Polarized Crowds to Community Clusters. Washington, DC: Pew Research Center. http://www.pewinternet.org/2014/02/20/mapping-twitter-topic-networks-from-polarized-crowds-to-community-clusters [April 4, 2014] Sontag, Susan. 1978. On Photography. Toronto, ON: McGraw-Hill Ryerson Ltd Stefanidis, Anthony, Andrew Crooks & Jacek Radzikowski. 2013. Harvesting ambient geospatial information from social media feeds. In GeoJournal, April 2013, Volume 78, Issue 2, 319-338. Springer Netherlands. http://link.springer.com/article/10.1007%2Fs10708-011-9438-2 [April 3, 2014] Twitter. 2015. About, Company page. Twitter Inc. https://about.twitter.com/company [March 18, 2015] Van Weelden, Dirk. 2005. Possible Worlds. In Else/Where: Mapping: New Cartographies of Networks and Territories, ed. Janet Abrams & Peter Hall, 26 – 45, Minneapolis, MN: University of Minnesota Design Institute & University of Minnesota Press. Whyte, William H., 2001. The Social Life of Small Urban Spaces. New York, NY: Project for Public Spaces. Zimmer, Michael. 2010. “But the data is already public”: on the ethics of research in Facebook. In Ethics and Information Technology, December 2010, Volume 12, Issue 4, 313-325. Springer. http://link.springer.com/article/10.1007/s10676-010-9227-5 [April 3, 2014]

93 REFERENCES APPENDIX

As a member of the Festival du Voyageur staff, you are being invited to take part in a conversation about the design, planning and programming of the Festival du Voyageur and related social media activity. This research is being conducted by Blaise Lachiver for the purpose of completing a design practicum for Consent Form the Master of Landscape Architecture Program at the University Festival du Voyageur Staff and Members of Manitoba’s Faculty of Architecture. This research is being conducted under the supervision of Associate Professor Dr. Project Title Karen Wilson Baptist. The primary goal of the project is to use Mapping Digital Landscape Narratives: Exploring the Use of publicly accessible information that has been posted on social Social Media as a Passive Form of Community Engagement media to better inform the design, planning and programming in Landscape Architecture – A Case Study of the Festival du of the Festival du Voyageur. The researcher will be analyzing Voyageur information regarding the Festival du Voyageur from the following 3 social media platforms, Facebook, Instagram, and Twitter. The Principal Investigator researcher would like to engage in a documented conversation Blaise Lachiver, B.Env.D. with you to assist in guiding the research. This will take place as Graduate Student, Department of Landscape Architecture, a focus group with 2 to 5 of your colleagues. The conversations Faculty of Architecture, University of Manitoba will revolve around existing conditions and practices involved in the Festival du Voyageur and potential future opportunities. These [email protected] conversations will guide the researcher in the way in which social media data is collected and what the subject matter of the social Research Supervisor media data will include, as well as the way in which social media Dr. Karen Wilson Baptist data can impact the planning of the festival. The conversations Associate Professor, Department of Landscape Architecture will be scheduled to best suit your schedule. I will be documenting Faculty of Architecture, University of Manitoba the focus group interview with typed notes that will be stored 204.474.7289 on my locked computer. These notes will be deleted upon [email protected] publication of the practicum document. You will have the option of identifying yourself or remaining anonymous. The researcher may This consent form, a copy of which will be left with you for your use this information in subsequent articles or in presentations at records and reference, is only part of the process of informed professional conferences. consent. It should give you the basic idea of what the research is about and what your participation will involve. If you would like more detail about something mentioned here, or information not included here, you should feel free to ask. Please take the time to read this carefully and to understand any accompanying information.

APPENDIX 94 List of questions to make up the interview session: Festival du Voyageur, and a digital copy will be available in the 1.Planning and Design University of Manitoba’s M Space. a. What is involved in planning and organizing the Festival du Voyageur from year to year? You may withdraw from this study at anytime prior to publication. b. Do you work with consultants from outside of the Festival You may do so by contacting me, Blaise Lachiver, by phone at du Voyageur organization in the planning process? XXX-XXX-XXXX or by e-mail at [email protected]. Should c. Do you currently have a plan for the future of the Festival du you choose to withdraw from the study, you must do so prior to Voyageur? May 25, 2016, as the final document will be printed shortly after d. Are there any issues and or opportunities relating to the this date. If you withdraw from this study, I will delete all your festival that may require a planning or design solution? recorded interview answers and remove any of the data from the e. Please explain how you develop relationships with practicum document. partnering organizations and companies? f. How do you determine the location of off-site venues? The University of Manitoba may look at one’s research records to g. Are there design or planning guidelines for the festival? see that the research is being done in a safe and proper way. This h. More questions to be determined on the spot as research has been approved by the Joint-Faculty Research Ethics expansions to earlier questions. Board. If you have any concerns or complaints about this project 2. Social Media you may contact any of the above-named persons or the Human a. What is involved in running your social media campaigns? Ethics Coordinator (HEC) at (204) 474-7122, humanethics@ b. Do you utilize the feedback and activity of others on social umanitoba.ca. You will receive a copy of this consent form for your media in any way? records and reference. c. Do you engage the public in the planning of the Festival du Voyageur? Risk and Benefits: There are no risks to participants, as all d. More questions to be determined on the spot as information will remain anonymous unless I obtain one’s consent, expansions to earlier questions. and one may withdraw at any point prior to publication. The benefits of this study will be the information provided to the Your signature on this form indicates that you have understood Festival du Voyageur may be useful in their planning of the annual to your satisfaction the information regarding participation in the event. research project and agree to participate. In no way does this waive your legal rights nor release the researcher from his legal and professional responsibilities. You are free to withdraw from the study at any time, and/or refrain from answering any questions you prefer to omit, without prejudice or consequence. Your continued participation should be as informed as your initial consent, so you should feel free to ask for clarification or new information throughout your participation. You may retract any information that you have contributed until the document has been published. A printed copy of the practicum document will be provided to the

95 APPENDIX By signing below you are providing consent to the researcher to use your name and information from recorded conversations. Signing below indicates that: • you have read the above information • you voluntarily agree to participate • you are at least 18 years of age

PARTICIPANT’S SIGNATURE:______Please indicate (YES or NO) if you would like your name published: ______

DATE:______

I wish to receive a summary of findings. Please send it to: ______

RESEARCHER’S SIGNATURE:______

DATE:______

APPENDIX 96 You are being invited to contribute some information that you have previously posted on social media (Facebook, Instagram, or Twitter) about the Festival du Voyageur in Winnipeg, Manitoba. This research is being conducted by Blaise Lachiver for the purpose of completing a design practicum for the Master of Consent Form Landscape Architecture Program at the University of Manitoba’s Social Media Participants Faculty of Architecture. This research is being conducted under the supervision of Associate Professor Dr. Karen Wilson Baptist. Project Title The primary goal of the project is to use publicly accessible Mapping Digital Landscape Narratives: Exploring the Use of information that has been posted on social media to better inform Social Media as a Passive Form of Community Engagement the design, planning and programming of the Festival du Voyageur. in Landscape Architecture – A Case Study of the Festival du The researcher has been analyzing information regarding the Voyageur Festival du Voyageur from the following 3 social media platforms, Facebook, Instagram, and Twitter. All of the data will remain Principal Investigator anonymous, and the researcher will describe, paraphrase, qualify Blaise Lachiver, B.Env.D. and quantify all information while respecting the privacy of the Graduate Student, Department of Landscape Architecture, users of social media. You have been selected to share a post Faculty of Architecture, University of Manitoba for the reason indicated at the bottom of the page. Should you choose to participate, you are giving the researcher permission to [email protected] use the mentioned social media post.

Research Supervisor Should you provide consent, your social media post may be used Dr. Karen Wilson Baptist in the researcher’s Master’s Practicum which will be published. Associate Professor, Department of Landscape Architecture The researcher may use this information in subsequent articles Faculty of Architecture, University of Manitoba or in presentations at professional conferences. The practicum 204.474.7289 document will be available in the University of Manitoba’s M [email protected] Space.

This consent form, a copy of which will be left with you for your records and reference, is only part of the process of informed consent. It should give you the basic idea of what the research is about and what your participation will involve. If you would like more detail about something mentioned here, or information not included here, you should feel free to ask. Please take the time to read this carefully and to understand any accompanying information.

97 APPENDIX Your signature on this form indicates that you have understood Social Media Post to your satisfaction the information regarding participation in the ______research project and agree to participate. In no way does this ______waive your legal rights nor release the researcher from his legal ______and professional responsibilities. You are free to withdraw your social media post from this work at anytime prior to publication Participant’s Information: by contacting me, Blaise Lachiver, by phone at XXX-XXX-XXXX or by e-mail at [email protected]. Should you choose to Name:______withdraw from the study, you must do so prior to May 25, 2016, Username:______as the final document will be printed shortly after this date. If you Address:______withdraw from this study, I will delete all your recorded information Phone:______and remove any of the data from the practicum document. E-mail:______

Please note that you must be the owner of the rights of the social Please indicate if you would like to be recognized for your post media post in question. You own the rights to anything that you in the final publication of this practicum document. If yes, please have written, created, or any photograph that you have taken. write NAME or USERNAME, indicating how you would like to Please do no claim the rights to work that you have not created be credited. If not, please leave blank and the post will remain yourself. If the post in question is a photograph, you permit the anonymous:______user the use this photograph in the practicum document and in future publications. If the photograph includes identifiable people, By signing below you are providing consent to the researcher to please ensure that you have their permission to share their image; use your name or username and the mentioned social media post. this does not include images of performers or those hired by the Signing below indicates that: Festival du Voyageur. • you have read the above information • you voluntarily agree to participate The University of Manitoba may look at one’s research records to • you are at least 18 years of age see that the research is being done in a safe and proper way. PARTICIPANT’S SIGNATURE:______This research has been approved by the Joint-Faculty Research DATE:______Ethics Board. If you have any concerns or complaints about this project you may contact any of the above-named persons RESEARCHER’S SIGNATURE:______or the Human Ethics Coordinator (HEC) at (204) 474-7122, DATE:[email protected]. You may print this page for your records and reference.

APPENDIX 98